“Pele” [Skin] is a photographic action that situates the body in the scenery of the metropolis. Lia Chaia works with perceptions and experiences of everyday life, such as the permanent tension between urban space, body, and nature. Performance is one of Chaia’s frequent strategies in her production, in intense relation to the conceptual artistic modality that emerged in the 1960s, as well as with photography. The role played by the camera has its reason for being in a poetic particularly interested in the documentary aspect of the artistic operation.

In the work, Dardot creates blank fields that suggest landscapes, not only by the title of the series, but also by the embroidered horizontal fields within the felt fields. Felt itself is not neutral. Being a textile conglomerate, it carries color and texture information, as well as being used as thermal and sound insulation. The embroidered captions at the bottom of the composition also refer to the sound of the proposed landscapes: they are phrases from the “In a Fog” Archive, where Dardot collects excerpts from books with the word “silence.”

“In Calunga Grande*, André evokes the memory of the waters of the Atlantic, where more than 2 million Africans are buried after beeing thrown into the sea during the more than three centuries of human trafficking.

A banner of monumental scale that reads Calunga Grande produces meaning in the contact with points that constitute the territory baptized as “Pequena África” by Heitor dos Prazeres. André Vargas and Jéssica Hipólito wear white in reverence to those who came before them, those who conquered death, dreamed and fought for a future of freedom for their descendants.”
Juliana Pereira

“Calunga Grande it is the sea on the infinite horizon that swallows souls. It is the gaze of someone who remains, or is yet to be forcibly carried away, watching someone who has already been caught being erased by violence and distance.
It is the indecipherable absolute that sways the waters in the dungeons of memory. It is where the wind and torment live for me. It is the movement of bodies that leave without any choice.

It is the essence of each grain, it is the excellence of each bubble. It is a non-ground of trampled blood and blue.

It is the sea that is made of death. It’s the cut that pours the rum. It’s everywhere were the sea has been or the sea will be. It’s everywhere there is.”
André Vargas

*When crossing the ocean, during the trafficing of enslaved people, Calunga Grande could be the final destination for those who did not arrive alive or healthy. The term was used to designate the sea itself but could also be understood as a cemetery.

The selection of paintings presented here is part of the original works by Dora Longo Bahia for the creation of the book “wAkupaLice,” from 2006.

The work creates connections between “Alice in Wonderland” by Lewis Carroll, “Finnegans Wake” and “Ulysses” by James Joyce, and David Lynch.

The selection of paintings presented here is part of the original works by Dora Longo Bahia for the creation of the book “wAkupaLice,” from 2006.

The work creates connections between “Alice in Wonderland” by Lewis Carroll, “Finnegans Wake” and “Ulysses” by James Joyce, and David Lynch.

The work creates connections between “Alice in Wonderland” by Lewis Carroll, “Finnegans Wake” and “Ulysses” by James Joyce, and David Lynch.

Da Costa composes a view of the Carstensz Pyramid in Indonesia, using graphite on graph paper. The artist applies mathematical metrics to represent the ninth highest mountain in the world. Da Costa observes Carstensz’s topography from the millimetric modulation of paper for technical, geometric, and graphic drawings, elaborating a sort of cartography for the mountain.

Esse trabalho foi realizado pela primeira vez em 1982 e é constituído por uma série de 19 páginas. Em cada uma das folhas de papel em branco se lê, no pé, uma escala que indica a correspondência entre as dimensões da página, medidas em centímetros, e as grandes extensões territoriais, medidas em quilômetros.
Nas cartas geográficas, essas escalas servem para relacionar a dimensão da imagem impressa com a dimensão real daquilo que está referido no mapa: zonas, regiões, cordilheiras, oceanos, mares, rios, fronteiras, países, cidades.
Neste caso, como a página está em branco, é o vazio que se distende e que, imaginariamente, vai constituir um espaço monumental.
O menor possível, palpável, combinado com larguras, distâncias, extensões impossíveis.

By contrasting photoliths with Pantone color charts, Moscheta makes his own translations of the lush natural landscapes depicted in the Atacama. Using strategies linked to the classification and cataloging of files, Moscheta analyzes the landscape guided by chromatic relationships, leaving it to the viewer to reassign the colors to the elements.

The polyptych presents the record of the passage and changing position of the sun made on a box of black sand, with the aid of a magnifying glass, 30 days before the beginning of spring in the Tropic of Capricorn. The 18 photos show the sunny days of the period.

In the series Positivo Singular [Singular Positive], Moscheta presents a series of ten photographs of uncommon landscapes of the Chilean desert topped with iron sheets that form volumes which recall the monolith in the film 2001: a Space Oddyssey, by Stanley Kubrick.
In the 1968 film, the black volume made of an undefined material symbolized a synchronism between past and future, like an atemporal announcement of man’s pioneering destiny. The first appearance of the object in the film takes place at the moment when man’s ancestor discovers that the same bone that forms his structure can be used as a tool or as a weapon.
In Moscheta’s works, however, this monolith is subject to the passage of time and, due to its ferrous material, acquires marks of the passage of time, with constant oxidation and corrosion. Moscheta’s monoliths are thus synchronous with those of Kubrik, but insofar as they are manmade, they only tend to decay.

In the series Clouds (2022), Detanico Lain created a set of 15 images of white clouds on a blue background. From a distance, the observer can, as in a game, look for shapes in the clouds, but when getting closer, he sees that, in fact, the clouds are made of letters that form words. The letters scattered across the images also require some investigation to uncover the word that is there.

Partido de la Costa is one of the 135 partidos (districts) that make This work stems from Robbio’s research on country borders as studies on lines. The research investigates the power of drawing to divide geographic portions into distinct politics, cultures, and economies. Robbio talks about borders established from geographical accidents, conflicts, and diverse cultural contexts as impositions to be adhered to. Thus, Robbio establishes an exercise with another imposition to the line: turning lines of 1 meter in length into lines of 70 centimeters. However, there is a problem in the challenge: lines cannot be reduced without becoming volumes.

I like to think of this work as a drawing. Perhaps a Paleolithic graphism, because it evokes the most primitive way of drawing – a line of paint on an earth surface.

During a strike, I went out with a group of school friends to photograph the outskirts of the city. We decided to stop in an almost deserted area near Santo Amaro, where a newly opened avenue cut through a rugged area among curves, holes and large hills. It was a wall of earth that looked good to
paint. A part of it, with the earth in horizontal bands, worked exactly like a stair, by which one could go up and down freely. I took advantage of that to draw zigzag lines on it, like the steps of a stair.

The observed thing (hill/earth steps) and the drawn thing (lines/scheme), almost on the same scale, resonated with each other. An urban design.

Carmela Gross

Power relations permeate the materials chosen by Komatsu. It is these relations that often constitute the true raw material used in his work. “Lusco-Fusco” brings together the precariousness of Drywall with the ephemerality of news from newspaper clippings. With cuts and punches, Komatsu breaks through the surfaces of his paintings into geometric or gestural abstractions, while fragments of news suggest representations of what could emerge there. While his titles suggest a place between day and night, his forms suggest something between figuration and abstraction.

In Terrains, drawings made with enamel paint that create camouflage patterns. In the marbling technique called Ebru, the paint is placed on a surface of water, and the design is set by the movement of the water as it runs off an absorbent surface.
The paintings refer to the regions of South America seen by satellites. The pieces were built on the basis of a tangram puzzle. This point reinforces the idea of camouflage as a development of logical reasoning in the analysis and distinctiveness of its forms. When referring to this type of model, the artist also points to the regions represented as conflict zones or as zones of imminent conflict.

In “Both Sides of the São Francisco,” Robbio starts with a format proposed by Argentine painter Cándido López (1840-1902), who, to portray the battles of the Triple Alliance War, developed an elongated horizontal field for his paintings, in order to cover the length of battles. Robbio uses this feature to reinforce the idea of landscape and uses the sand and the cartographic perimeter in the background paper to suggest a landscape to be constituted by memory or imagination.

The photos in the series Sem Título (Patagônia) [Untitled (Patagonia)] were captured in a car trip taken by the artist to Patagonia, in 2007. The series is composed of views of mountains, glaciers, beaches and forests, deserts and rivers. These images, destitute of human presence, were created using pinhole cameras or Holga cameras, the Chinese brand famous for its inexpensive cameras with a plastic lens and body. The result is images of majestic landscapes which, due to the technical device chosen by the artist to record them, are either distorted, in the case of those made with the Holga cameras, or else marked by large reddish patches of light that entered the pinhole cameras.

Since the beginning of his career, Moscheta has created works born from his journeys through remote places, where he collects objects, images, and scientific data. “My relationship with the landscape rests on a primary attempt to construct an ideal place, an imitation of nature as a faithful portrayal of relationships of perfection and balance. Thus, I aim to encompass all possibilities of understanding a location, not only through sensory means like drawing or photography but also through rational forms of understanding place: latitude, longitude, altitude, mathematical calculations, and technical/ scientific references.”

“Atacama: 28.04-06.05/2012” records, on a pencil drawing reproducing a satellite image of the Atacama Desert, the artist’s journey through the territory over 7 days between April and May 2012. The line marked on the hyper realistic drawing creates tension by indicating the presence of man entering the untamed environment of the desert.

Partido de la Costa is one of the 135 partidos (districts) that make up the Province of Buenos Aires. It is a coastal region, whose geographical layout favors life on the shore. The busiest beaches are filled with popular molded plastic furniture, sharing space with the sand. By displacing and juxtaposing the two elements, Robbio configures a new landscape. “It’s like a geographical accident caused by two elements that belong to the same place,” says the artist. Robbio’s practice often relies on overlays that bring new meanings to the structure of common objects.

Endorheic lakes from different regions are presented by their forms in contour lines through digital cut in museological papers of passe-partout, the glass representing the dimension of the water in these lakes are displaced into the frame indicating the current situation of the level of the reservoirs, due to fluctuations of weather conditions. One can see how the lakes have declined in size and dried up over the past few years due to human action.

André Komatsu has an intrinsic relation to the streets in his works, which may react to political developments or to social uses of the public space. In his new series ‘Noturnos’, slabs of cement are framed by rudimentary pieces of wood – like if they were collected from the streets itself. Inlaid on the cement are images from newspaper depicting clashes between protesters and police or between protesters from different sides of the polarized spectrum of Brazilian society. Alongside the photographs are geometric markings or drawings which frame those images within the structural problems that divide Brazilian society.