Galeria Vermelho presents the solo show O espaço entre eu e você [The space between me and you]*, by artist Marcelo Cidade. It is Cidade´s eight solo show at the Gallery.
Cidade presents new works that deal – visually and conceptually – with the delinquency of individuals and the powers that be. In his work, Cidade investigates the formation of the city, its flow of control, and the constant clash between the public and private spheres.
The five new series presented by Cidade bring social conflicts and street codes to the art space organized within the logic of the grid. As Rosalind Krauss wrote in Grids, 1979, “the grid announces, among other things, the will to silence modern art, its hostility to literature, to narrative, to discourse”. One of the keys to Cidade’s work is his revisiting of the formation of modern Brazil, its developmental promises and the subsequent scenario of misery and extreme social inequality that is still installed.
The revisiting of the modern ideal and its ruins, proposed by Cidade, characterizes the 2000 Generation, of which he is one of the protagonists. Cidade resorts to materials often linked to construction and its waste in the his works, reversing the value attached to them.
The works in exhibit take place in the dichotomy of inside and outside, included and excluded, above and below, which the title of one of the works present, O eterno jogo dos opostos [The eternal game of opposites], suggests.
* the title of the exhibition brings a deliberate grammatical error, reversing the use of the indirect object me, by the subject me, a decision that superimposes the personalist character to the detriment of grammatical correctness.
Galeria Vermelho presents the solo show O espaço entre eu e você [The space between me and you]*, by artist Marcelo Cidade. It is Cidade´s eight solo show at the Gallery.
Cidade presents new works that deal – visually and conceptually – with the delinquency of individuals and the powers that be. In his work, Cidade investigates the formation of the city, its flow of control, and the constant clash between the public and private spheres.
The five new series presented by Cidade bring social conflicts and street codes to the art space organized within the logic of the grid. As Rosalind Krauss wrote in Grids, 1979, “the grid announces, among other things, the will to silence modern art, its hostility to literature, to narrative, to discourse”. One of the keys to Cidade’s work is his revisiting of the formation of modern Brazil, its developmental promises and the subsequent scenario of misery and extreme social inequality that is still installed.
The revisiting of the modern ideal and its ruins, proposed by Cidade, characterizes the 2000 Generation, of which he is one of the protagonists. Cidade resorts to materials often linked to construction and its waste in the his works, reversing the value attached to them.
The works in exhibit take place in the dichotomy of inside and outside, included and excluded, above and below, which the title of one of the works present, O eterno jogo dos opostos [The eternal game of opposites], suggests.
* the title of the exhibition brings a deliberate grammatical error, reversing the use of the indirect object me, by the subject me, a decision that superimposes the personalist character to the detriment of grammatical correctness.
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Digital print on wheatpaste poster
Photo Filipe Berndt
On the gallery’s façade, the visitor is faced with a single, standardized image. The work O grid e a grade [The grid and the fence] (2020) is an appropriation of an image that circulated in all newspapers in Brazil on the date of the impeachment trial of Dilma Rousseff, in 2016, when the Esplanada dos Ministérios was divided by a railing, separating the people for and against the process. In this gigantic grid of repetitions, Cidade dissolves the problem embedded in the image, creating an optical dilution, a visual discomfort.
Variable dimensions
Digital print on wheatpaste poster
Photo Filipe BerndtOn the gallery’s façade, the visitor is faced with a single, standardized image. The work O grid e a grade [The grid and the fence] (2020) is an appropriation of an image that circulated in all newspapers in Brazil on the date of the impeachment trial of Dilma Rousseff, in 2016, when the Esplanada dos Ministérios was divided by a railing, separating the people for and against the process. In this gigantic grid of repetitions, Cidade dissolves the problem embedded in the image, creating an optical dilution, a visual discomfort.
Photo Vermelho
Photo Vermelho
Photo Filipe Berndt
Photo Filipe Berndt
Used iron shelf
Photo Filipe Berndt
In Instante estante, Cidade plans two heavily used metal shelves, freezing time and solemnizing the accumulated marks on the object. Here, deterioration becomes the image to be preserved.
197,5 x 283,5 cm
Used iron shelf
Photo Filipe BerndtIn Instante estante, Cidade plans two heavily used metal shelves, freezing time and solemnizing the accumulated marks on the object. Here, deterioration becomes the image to be preserved.
Re-articulated used iron bookcase
Photo Filipe Berndt
In Instante estante, Cidade plans two heavily used metal shelves, freezing time and solemnizing the accumulated marks on the object. Here, deterioration becomes the image to be preserved.
197,5 x 283,5 cm
Re-articulated used iron bookcase
Photo Filipe BerndtIn Instante estante, Cidade plans two heavily used metal shelves, freezing time and solemnizing the accumulated marks on the object. Here, deterioration becomes the image to be preserved.
Photo Filipe Berndt
Photo Filipe Berndt
Aluminum plates and paper stickers
Photo Filipe Berndt
Made up of aluminum panels in different sizes, the works in the Ato Falho (2023) series organize a collection of adhesives – offering repair services for metal doors – in a grid.
According to Cidade: “These stickers have a particular history, because I collected them. I would walk through the steel doors of the city, peel off these stickers and then graffiti over the surfaces. Then, I asked myself, why not compose a work suggesting a decomposition? What I do is decompose the work done by someone out in the street who went there and pasted it. I rearrange the stickers so that they are visible, respecting a grid format. In this case, I don’t use rulers, but compose the grid with my eye, a human grid, an anthropometric grid in which there are errors, dirt, fingerprints. The measurements are not exactly perfect or symmetric. The stickers themselves, having been removed from the public space, are old, torn and overlapping. None are new.”
This procedure of gluing stickers on doors offering repairs is informal work. Usually, the service is done by kids who walk the streets in downtown São Paulo in the early mornings pasting stickers – a movement that imitates the practice of graffiti. Those who walk around the city do not necessarily notice this movement because it is mostly swallowed by the architecture. In the work, on the contrary, the stickers appear in the foreground.
227 x 154,5 cm
Aluminum plates and paper stickers
Photo Filipe BerndtMade up of aluminum panels in different sizes, the works in the Ato Falho (2023) series organize a collection of adhesives – offering repair services for metal doors – in a grid.
According to Cidade: “These stickers have a particular history, because I collected them. I would walk through the steel doors of the city, peel off these stickers and then graffiti over the surfaces. Then, I asked myself, why not compose a work suggesting a decomposition? What I do is decompose the work done by someone out in the street who went there and pasted it. I rearrange the stickers so that they are visible, respecting a grid format. In this case, I don’t use rulers, but compose the grid with my eye, a human grid, an anthropometric grid in which there are errors, dirt, fingerprints. The measurements are not exactly perfect or symmetric. The stickers themselves, having been removed from the public space, are old, torn and overlapping. None are new.”
This procedure of gluing stickers on doors offering repairs is informal work. Usually, the service is done by kids who walk the streets in downtown São Paulo in the early mornings pasting stickers – a movement that imitates the practice of graffiti. Those who walk around the city do not necessarily notice this movement because it is mostly swallowed by the architecture. In the work, on the contrary, the stickers appear in the foreground.
Aluminum plates and paper stickers
Photo Filipe Berndt
Made up of aluminum panels in different sizes, the works in the Ato Falho (2023) series organize a collection of adhesives – offering repair services for metal doors – in a grid.
According to Cidade: “These stickers have a particular history, because I collected them. I would walk through the steel doors of the city, peel off these stickers and then graffiti over the surfaces. Then, I asked myself, why not compose a work suggesting a decomposition? What I do is decompose the work done by someone out in the street who went there and pasted it. I rearrange the stickers so that they are visible, respecting a grid format. In this case, I don’t use rulers, but compose the grid with my eye, a human grid, an anthropometric grid in which there are errors, dirt, fingerprints. The measurements are not exactly perfect or symmetric. The stickers themselves, having been removed from the public space, are old, torn and overlapping. None are new.”
This procedure of gluing stickers on doors offering repairs is informal work. Usually, the service is done by kids who walk the streets in downtown São Paulo in the early mornings pasting stickers – a movement that imitates the practice of graffiti. Those who walk around the city do not necessarily notice this movement because it is mostly swallowed by the architecture. In the work, on the contrary, the stickers appear in the foreground.
227 x 309 cm
Aluminum plates and paper stickers
Photo Filipe BerndtMade up of aluminum panels in different sizes, the works in the Ato Falho (2023) series organize a collection of adhesives – offering repair services for metal doors – in a grid.
According to Cidade: “These stickers have a particular history, because I collected them. I would walk through the steel doors of the city, peel off these stickers and then graffiti over the surfaces. Then, I asked myself, why not compose a work suggesting a decomposition? What I do is decompose the work done by someone out in the street who went there and pasted it. I rearrange the stickers so that they are visible, respecting a grid format. In this case, I don’t use rulers, but compose the grid with my eye, a human grid, an anthropometric grid in which there are errors, dirt, fingerprints. The measurements are not exactly perfect or symmetric. The stickers themselves, having been removed from the public space, are old, torn and overlapping. None are new.”
This procedure of gluing stickers on doors offering repairs is informal work. Usually, the service is done by kids who walk the streets in downtown São Paulo in the early mornings pasting stickers – a movement that imitates the practice of graffiti. Those who walk around the city do not necessarily notice this movement because it is mostly swallowed by the architecture. In the work, on the contrary, the stickers appear in the foreground.
Photo Filipe Berndt
Pre molded concrete structure
Photo Filipe Berndt
The sculptures in the Uma churrasqueira muito triste series appropriate pre-molded structures for the construction of barbecue grills. Cidade rearranged them in ways that allude to formalist sculptures and public monuments.
205 x 100 x 60 cm
Pre molded concrete structure
Photo Filipe BerndtThe sculptures in the Uma churrasqueira muito triste series appropriate pre-molded structures for the construction of barbecue grills. Cidade rearranged them in ways that allude to formalist sculptures and public monuments.
Aluminum plates and paper stickers
Photo Filipe Berndt
Made up of aluminum panels in different sizes, the works in the Ato Falho (2023) series organize a collection of adhesives – offering repair services for metal doors – in a grid.
According to Cidade: “These stickers have a particular history, because I collected them. I would walk through the steel doors of the city, peel off these stickers and then graffiti over the surfaces. Then, I asked myself, why not compose a work suggesting a decomposition? What I do is decompose the work done by someone out in the street who went there and pasted it. I rearrange the stickers so that they are visible, respecting a grid format. In this case, I don’t use rulers, but compose the grid with my eye, a human grid, an anthropometric grid in which there are errors, dirt, fingerprints. The measurements are not exactly perfect or symmetric. The stickers themselves, having been removed from the public space, are old, torn and overlapping. None are new.”
This procedure of gluing stickers on doors offering repairs is informal work. Usually, the service is done by kids who walk the streets in downtown São Paulo in the early mornings pasting stickers – a movement that imitates the practice of graffiti. Those who walk around the city do not necessarily notice this movement because it is mostly swallowed by the architecture. In the work, on the contrary, the stickers appear in the foreground.
113 x 77 cm
Aluminum plates and paper stickers
Photo Filipe BerndtMade up of aluminum panels in different sizes, the works in the Ato Falho (2023) series organize a collection of adhesives – offering repair services for metal doors – in a grid.
According to Cidade: “These stickers have a particular history, because I collected them. I would walk through the steel doors of the city, peel off these stickers and then graffiti over the surfaces. Then, I asked myself, why not compose a work suggesting a decomposition? What I do is decompose the work done by someone out in the street who went there and pasted it. I rearrange the stickers so that they are visible, respecting a grid format. In this case, I don’t use rulers, but compose the grid with my eye, a human grid, an anthropometric grid in which there are errors, dirt, fingerprints. The measurements are not exactly perfect or symmetric. The stickers themselves, having been removed from the public space, are old, torn and overlapping. None are new.”
This procedure of gluing stickers on doors offering repairs is informal work. Usually, the service is done by kids who walk the streets in downtown São Paulo in the early mornings pasting stickers – a movement that imitates the practice of graffiti. Those who walk around the city do not necessarily notice this movement because it is mostly swallowed by the architecture. In the work, on the contrary, the stickers appear in the foreground.
Photo Filipe Berndt
Photo Filipe Berndt
Galvanized steel sheet, brick, cement, sand and tiles
Photo Filipe Berndt
O eterno jogo dos opostos [The eternal game of opposites] was created based on the circulation of Cidade through the city.
On these walks, the artist collected pieces from traditional city buildings, left over from demolition processes. The pieces of rubble were mounted on pieces of aluminum sidings – which relate to the metal fence in the image on the gallery’s façade.
“I’m interested in taking the opposite route, that is, bringing the ruined object to the front of the work: what was destroyed is worth more than what is new”, says Cidade.
220 x 105 x 8 cm
Galvanized steel sheet, brick, cement, sand and tiles
Photo Filipe BerndtO eterno jogo dos opostos [The eternal game of opposites] was created based on the circulation of Cidade through the city.
On these walks, the artist collected pieces from traditional city buildings, left over from demolition processes. The pieces of rubble were mounted on pieces of aluminum sidings – which relate to the metal fence in the image on the gallery’s façade.
“I’m interested in taking the opposite route, that is, bringing the ruined object to the front of the work: what was destroyed is worth more than what is new”, says Cidade.
Galvanized steel plate, brick, cement, sand, and tile
Photo Filipe Berndt
O eterno jogo dos opostos [The eternal game of opposites] was created based on the circulation of Cidade through the city.
On these walks, the artist collected pieces from traditional city buildings, left over from demolition processes. The pieces of rubble were mounted on pieces of aluminum sidings – which relate to the metal fence in the image on the gallery’s façade.
“I’m interested in taking the opposite route, that is, bringing the ruined object to the front of the work: what was destroyed is worth more than what is new”, says Cidade.
220 x 105 x 8 cm
Galvanized steel plate, brick, cement, sand, and tile
Photo Filipe BerndtO eterno jogo dos opostos [The eternal game of opposites] was created based on the circulation of Cidade through the city.
On these walks, the artist collected pieces from traditional city buildings, left over from demolition processes. The pieces of rubble were mounted on pieces of aluminum sidings – which relate to the metal fence in the image on the gallery’s façade.
“I’m interested in taking the opposite route, that is, bringing the ruined object to the front of the work: what was destroyed is worth more than what is new”, says Cidade.
Photo Filipe Berndt
Photographs, pins, information panel made of wood, felt, glass and iron
Photo Filipe Berndt
Cidade collected images of the dumpsters of apartment buildings irregularly occupying the sidewalks of Higienópolis, an upper-class neighborhood in São Paulo. The images were taken during the pandemic, on morning walks, at a time of the day when these bins are still empty. The images were taken with the artist´s back to the buildings. What is visible is the street organized through the grid of the dumpsters.
The images were mounted in sets of 30 photos on bulletin boards similar to those used in condominiums to disseminate information.
The Higienópolis series was built from the artist´s displacements around the city, a recurrent and important procedure in Cidade’s work.
133 x 155,5 x 9,5 cm
Photographs, pins, information panel made of wood, felt, glass and iron
Photo Filipe BerndtCidade collected images of the dumpsters of apartment buildings irregularly occupying the sidewalks of Higienópolis, an upper-class neighborhood in São Paulo. The images were taken during the pandemic, on morning walks, at a time of the day when these bins are still empty. The images were taken with the artist´s back to the buildings. What is visible is the street organized through the grid of the dumpsters.
The images were mounted in sets of 30 photos on bulletin boards similar to those used in condominiums to disseminate information.
The Higienópolis series was built from the artist´s displacements around the city, a recurrent and important procedure in Cidade’s work.
Photographs, pins, information panel made of wood, felt, glass and iron
Photo Filipe Berndt
Cidade collected images of the dumpsters of apartment buildings irregularly occupying the sidewalks of Higienópolis, an upper-class neighborhood in São Paulo. The images were taken during the pandemic, on morning walks, at a time of the day when these bins are still empty. The images were taken with the artist´s back to the buildings. What is visible is the street organized through the grid of the dumpsters.
The images were mounted in sets of 30 photos on bulletin boards similar to those used in condominiums to disseminate information.
The Higienópolis series was built from the artist´s displacements around the city, a recurrent and important procedure in Cidade’s work.
133 x 155,5 x 9,5 cm
Photographs, pins, information panel made of wood, felt, glass and iron
Photo Filipe BerndtCidade collected images of the dumpsters of apartment buildings irregularly occupying the sidewalks of Higienópolis, an upper-class neighborhood in São Paulo. The images were taken during the pandemic, on morning walks, at a time of the day when these bins are still empty. The images were taken with the artist´s back to the buildings. What is visible is the street organized through the grid of the dumpsters.
The images were mounted in sets of 30 photos on bulletin boards similar to those used in condominiums to disseminate information.
The Higienópolis series was built from the artist´s displacements around the city, a recurrent and important procedure in Cidade’s work.
Photographs, pins, information panel made of wood, felt, glass and iron
Photo Filipe Berndt
Cidade collected images of the dumpsters of apartment buildings irregularly occupying the sidewalks of Higienópolis, an upper-class neighborhood in São Paulo. The images were taken during the pandemic, on morning walks, at a time of the day when these bins are still empty. The images were taken with the artist´s back to the buildings. What is visible is the street organized through the grid of the dumpsters.
The images were mounted in sets of 30 photos on bulletin boards similar to those used in condominiums to disseminate information.
The Higienópolis series was built from the artist´s displacements around the city, a recurrent and important procedure in Cidade’s work.
133 x 155,5 x 9,5 cm
Photographs, pins, information panel made of wood, felt, glass and iron
Photo Filipe BerndtCidade collected images of the dumpsters of apartment buildings irregularly occupying the sidewalks of Higienópolis, an upper-class neighborhood in São Paulo. The images were taken during the pandemic, on morning walks, at a time of the day when these bins are still empty. The images were taken with the artist´s back to the buildings. What is visible is the street organized through the grid of the dumpsters.
The images were mounted in sets of 30 photos on bulletin boards similar to those used in condominiums to disseminate information.
The Higienópolis series was built from the artist´s displacements around the city, a recurrent and important procedure in Cidade’s work.
Photo Filipe Berndt
Galvanized steel sheet, brick, cement, sand and hydraulic tile
Photo Filipe Berndt
O eterno jogo dos opostos [The eternal game of opposites] was created based on the circulation of Cidade through the city.
On these walks, the artist collected pieces from traditional city buildings, left over from demolition processes. The pieces of rubble were mounted on pieces of aluminum sidings – which relate to the metal fence in the image on the gallery’s façade.
“I’m interested in taking the opposite route, that is, bringing the ruined object to the front of the work: what was destroyed is worth more than what is new”, says Cidade.
220 x 105 x 8 cm
Galvanized steel sheet, brick, cement, sand and hydraulic tile
Photo Filipe BerndtO eterno jogo dos opostos [The eternal game of opposites] was created based on the circulation of Cidade through the city.
On these walks, the artist collected pieces from traditional city buildings, left over from demolition processes. The pieces of rubble were mounted on pieces of aluminum sidings – which relate to the metal fence in the image on the gallery’s façade.
“I’m interested in taking the opposite route, that is, bringing the ruined object to the front of the work: what was destroyed is worth more than what is new”, says Cidade.
Photo Filipe Berndt
Acrylic paint, automotive spray paint and adhesive label on canvas
Photo Filipe Berndt
Set of 18 paintings created with acrylic paint, automotive spray paint and adhesive labels on canvas, Monocromos Cinzas [Grey Monochromes] constitutes an attempt to classify the experience of public space through different shades of gray, white and beige.
Created at the beginning of the artist’s career, in 2002, the concept impregnated in the work and laid the foundation for Cidade’s trajectory. This concept appears in works in which the artist uses cement as material in the construction of his critique of the Brazilian modernist project.
80 x 65 cm (each)
Acrylic paint, automotive spray paint and adhesive label on canvas
Photo Filipe BerndtSet of 18 paintings created with acrylic paint, automotive spray paint and adhesive labels on canvas, Monocromos Cinzas [Grey Monochromes] constitutes an attempt to classify the experience of public space through different shades of gray, white and beige.
Created at the beginning of the artist’s career, in 2002, the concept impregnated in the work and laid the foundation for Cidade’s trajectory. This concept appears in works in which the artist uses cement as material in the construction of his critique of the Brazilian modernist project.
Photo Filipe Berndt
Pre molded concrete structure
Photo Filipe Berndt
The sculptures in the Uma churrasqueira muito triste series appropriate pre-molded structures for the construction of barbecue grills. Cidade rearranged them in ways that allude to formalist sculptures and public monuments.
186 x 80 x 80 cm
Pre molded concrete structure
Photo Filipe BerndtThe sculptures in the Uma churrasqueira muito triste series appropriate pre-molded structures for the construction of barbecue grills. Cidade rearranged them in ways that allude to formalist sculptures and public monuments.
Photo Filipe Berndt
Digital photography
Photo Filipe Berndt
In this work, Cidade combines happening, performance and collaborative process, practices that defined the field of contemporary art at the beginning of the 21st century.
To make the work, the artist invited passersby who, on the date of the action, were walking along the Santa Ifigênia (São Paulo) and Santa Tereza (Belo Horizonte) pedestrian overpasses.
The protocol was the participation in the performance for the camera in exchange for a T-shirt. With the action, Cidade reconfigures the line of the horizon through the bodies in order to question issues of contemporary art – its relation with society, history, and culture.
54 x 421 cm
Digital photography
Photo Filipe BerndtIn this work, Cidade combines happening, performance and collaborative process, practices that defined the field of contemporary art at the beginning of the 21st century.
To make the work, the artist invited passersby who, on the date of the action, were walking along the Santa Ifigênia (São Paulo) and Santa Tereza (Belo Horizonte) pedestrian overpasses.
The protocol was the participation in the performance for the camera in exchange for a T-shirt. With the action, Cidade reconfigures the line of the horizon through the bodies in order to question issues of contemporary art – its relation with society, history, and culture.
Iron, tailings mud, framed photography and wall text.
Photo Filipe Berndt
Depois da sedimentação da mente [After the sedimentation of the mind] (2019-2020) is a project by Marcelo Cidade built from elements from the rupture of the Vale S.A. dam, in Brumadinho, in 2019. The rupture of the Córrego do Feijão Mine Dam was the biggest labor accident this century in Brazil in terms of human lives lost.
Shortly after the breakup, Cidade went to Brumadinho with collaborators to donate supplies and register the tragedy. They returned with 60 liters of discarded mud – the same volume of potable water that they left with the volunteering rescue workers.
The installation includes iron boxes in the shape of the Vale logo, where Cidade deposited the mud waste, and references the American artist Robert Smithson´s concept of Non-site.
Curator Germano Dushá, one of Cidade’s collaborators who went to the location with the artist, signs the logbook for the trip, which is part of the installation.
Depois da sedimentação da mente creates an abstraction of the disaster through its residues.
“I understand this work and all the others in the exhibition as performances containing the movement of my body as a part of the gestures of registering, absorbing, transporting and moving. The body is part of it.”
20 x 100 x 191,5 cm and 55 x 81,5 cm
Iron, tailings mud, framed photography and wall text.
Photo Filipe BerndtDepois da sedimentação da mente [After the sedimentation of the mind] (2019-2020) is a project by Marcelo Cidade built from elements from the rupture of the Vale S.A. dam, in Brumadinho, in 2019. The rupture of the Córrego do Feijão Mine Dam was the biggest labor accident this century in Brazil in terms of human lives lost.
Shortly after the breakup, Cidade went to Brumadinho with collaborators to donate supplies and register the tragedy. They returned with 60 liters of discarded mud – the same volume of potable water that they left with the volunteering rescue workers.
The installation includes iron boxes in the shape of the Vale logo, where Cidade deposited the mud waste, and references the American artist Robert Smithson´s concept of Non-site.
Curator Germano Dushá, one of Cidade’s collaborators who went to the location with the artist, signs the logbook for the trip, which is part of the installation.
Depois da sedimentação da mente creates an abstraction of the disaster through its residues.
“I understand this work and all the others in the exhibition as performances containing the movement of my body as a part of the gestures of registering, absorbing, transporting and moving. The body is part of it.”
Iron, tailings mud, framed photography and wall text.
Photo Filipe Berndt
Depois da sedimentação da mente [After the sedimentation of the mind] (2019-2020) is a project by Marcelo Cidade built from elements from the rupture of the Vale S.A. dam, in Brumadinho, in 2019. The rupture of the Córrego do Feijão Mine Dam was the biggest labor accident this century in Brazil in terms of human lives lost.
Shortly after the breakup, Cidade went to Brumadinho with collaborators to donate supplies and register the tragedy. They returned with 60 liters of discarded mud – the same volume of potable water that they left with the volunteering rescue workers.
The installation includes iron boxes in the shape of the Vale logo, where Cidade deposited the mud waste, and references the American artist Robert Smithson´s concept of Non-site.
Curator Germano Dushá, one of Cidade’s collaborators who went to the location with the artist, signs the logbook for the trip, which is part of the installation.
Depois da sedimentação da mente creates an abstraction of the disaster through its residues.
“I understand this work and all the others in the exhibition as performances containing the movement of my body as a part of the gestures of registering, absorbing, transporting and moving. The body is part of it.”
20 x 100 x 191,5 cm and 55 x 81,5 cm
Iron, tailings mud, framed photography and wall text.
Photo Filipe BerndtDepois da sedimentação da mente [After the sedimentation of the mind] (2019-2020) is a project by Marcelo Cidade built from elements from the rupture of the Vale S.A. dam, in Brumadinho, in 2019. The rupture of the Córrego do Feijão Mine Dam was the biggest labor accident this century in Brazil in terms of human lives lost.
Shortly after the breakup, Cidade went to Brumadinho with collaborators to donate supplies and register the tragedy. They returned with 60 liters of discarded mud – the same volume of potable water that they left with the volunteering rescue workers.
The installation includes iron boxes in the shape of the Vale logo, where Cidade deposited the mud waste, and references the American artist Robert Smithson´s concept of Non-site.
Curator Germano Dushá, one of Cidade’s collaborators who went to the location with the artist, signs the logbook for the trip, which is part of the installation.
Depois da sedimentação da mente creates an abstraction of the disaster through its residues.
“I understand this work and all the others in the exhibition as performances containing the movement of my body as a part of the gestures of registering, absorbing, transporting and moving. The body is part of it.”
Depois da sedimentação da mente [After the sedimentation of the mind] (2019-2020) is a project by Marcelo Cidade built from elements from the rupture of the Vale S.A. dam, in Brumadinho, in 2019. The rupture of the Córrego do Feijão Mine Dam was the biggest labor accident this century in Brazil in terms of human lives lost.
Shortly after the breakup, Cidade went to Brumadinho with collaborators to donate supplies and register the tragedy. They returned with 60 liters of discarded mud – the same volume of potable water that they left with the volunteering rescue workers.
The installation includes iron boxes in the shape of the Vale logo, where Cidade deposited the mud waste, and references the American artist Robert Smithson´s concept of Non-site.
Curator Germano Dushá, one of Cidade’s collaborators who went to the location with the artist, signs the logbook for the trip, which is part of the installation.
Depois da sedimentação da mente creates an abstraction of the disaster through its residues.
“I understand this work and all the others in the exhibition as performances containing the movement of my body as a part of the gestures of registering, absorbing, transporting and moving. The body is part of it.”
Depois da sedimentação da mente [After the sedimentation of the mind] (2019-2020) is a project by Marcelo Cidade built from elements from the rupture of the Vale S.A. dam, in Brumadinho, in 2019. The rupture of the Córrego do Feijão Mine Dam was the biggest labor accident this century in Brazil in terms of human lives lost.
Shortly after the breakup, Cidade went to Brumadinho with collaborators to donate supplies and register the tragedy. They returned with 60 liters of discarded mud – the same volume of potable water that they left with the volunteering rescue workers.
The installation includes iron boxes in the shape of the Vale logo, where Cidade deposited the mud waste, and references the American artist Robert Smithson´s concept of Non-site.
Curator Germano Dushá, one of Cidade’s collaborators who went to the location with the artist, signs the logbook for the trip, which is part of the installation.
Depois da sedimentação da mente creates an abstraction of the disaster through its residues.
“I understand this work and all the others in the exhibition as performances containing the movement of my body as a part of the gestures of registering, absorbing, transporting and moving. The body is part of it.”