Galeria Vermelho is pleased to announce two exhibitions, from January 27 to February 28: Ph Neutro (group exhibition, Hall 1 and 2) and PICNIC, Marco Paulo Rolla’s solo exhibition (Hall 4).
Ph Neutro
Ph Neutro (Ph Neutral) gathers works, mostly first time seen in Sao Paulo, by the artists Marcelo Cidade, Detanico Lain, Héctor Zamora, Rafael Assef, Odires Mlászho, Lia Chaia, Chiara Banfi and Fabio Morais.
Mercado Neutro (Neutral Market – 2008) is the title of the installation created by Marcelo Cidade (29) for the 2008 edition of the MiamiBasel Art Fair (Miami, EUA). With 375 gray molded plastic packages, disposed as if on a regular supermarket display, Cidade continues his sharp critic to the social and economical system confronting street culture elements to the modernist heritage, generating a pendular continuous flow between the social and subjective spheres. His works must be comprehended in this coming and going from the public to the private space. The cement, a recurrent element in his work, here reappears in the packages’ color of Mercado Neutro as a metaphor to the unrestrained growth of general consumption, but also and more specifically to the one related to the art world. Cidade’s Mercado Neutro reasserts his language based on experiment and appropriation of the social public sphere, changing distribution and devices of the architectonic place of capital and generating new perceptions and subjectivities.
The works of the Brazil-based Mexican artist Héctor Zamora (34) propose and materialize spatial experiences, which, according to the artist, must be run through or inhabited by the spectator. His pieces establish a dialogue between organic and geometric forms and also with its composing non-physical elements, what triggers experiences beyond the formalism of these structures and detonates poetical individual perceptions of the space. Topografias Simuladas (Simulated Topographies), Zamora’s work presented in the Ph Neutro exhibition, was developed with the support of Positions in Context: 2007, an exhibition programme by the Cisneros Fontanals Art Foundation (Miami, EUA). Zamora proposes a spatial exercise based upon common geometric techniques used by architects and engineers to develop surfaces. Both for architecture and engineering, these exercises simulate models to verify scales, in order to check if the developed forms are coherent or not with the physical compartments to be developed. In this work, Zamora used a random number (3) to even the pieces and its forms, generating an irregular and bumpy topography which volumes are enhanced according to light reflection. The 72 gray cardboard paper pieces composing Topografias Simuladas are installed on the gallery’s white cube floor, what creates a fictional scenario close to the ones found in sci-fi movies.
Rafael Assef (38) shows Escalas Técnicas (Technical Scales – 2008), a six-image piece created from a single digital file, captured in RAW, of a black tattoo called medium gray, which is also an expression used in photography as a reference of the tonal scale. The RAW in digital photography is the equivalent to the negative in analog photography, that is, raw material that hasn’t been treated yet. Because of the arrival and total implement of digital photography, many computer programs to treat images were developed. Capture One PRO is one among these programs that works as a photo lab where the raw image can be manipulated. This program basically consists of a number scale series based on analog photography such as Exposure Compensation (EC), Contrast Compensation (CC), Saturation Compensation (Sat), Color Temperature or Tint and Focus Tool. Each one of these scales plays a different role in manipulating digital images. From a specific medium gray, Assef created charts with all the functions described above. Each chart generated a unique gray scale, therefore establishing organized systems of digital image treatment. Thus, this work reflects upon photography itself.
Caixa de Força (Power Box – 2009) is a new work by Lia Chaia (30) that may be considered an unfolding from the TEPMOAH installation (2007) initially presented at the 2008 edition of ARCO (Madrid, Spain). Lia Chaia reveals the inside of an electric power box attached with organic and color elements. With this procedure, the artist points out eventual cracks in closed systems and suggests some elastic and malleable ways to live with them.
Fabio Morais (34) shows Brasil x Brazil (2009). From a 70’s soccer team photograph, purchased at Bexiga antique fair, black and white colors were Photoshop removed by the artist and the original gray tones of this B&W image remained. Morais then applied, also using Photoshop tools, the reference index of the book “Arte Contemporânea – uma história concisa” (Contemporary Art – a concise history, Martins Fontes publisher) where important historical artist’s names appear, such as Marcel Duchamp, George Baselitz and Jenny Holzer on the foreign team, and on the Brazilian one, Cildo Meirelles e Hélio Oiticica.
Odires Mlászho (48), presents Matrizes para Línguas Bifurcadas (Matrices to Bifurcated Languages – 2009). With a similar procedure to his previous works, Mlászho removes the paper surface from old German book covers, such as Das Bild der Erde and Revolution im Unsichtbaren leaving only the originally printed in low-relief titles. When applying acrylic paint onto theses surfaces, Mlászho reveals aspects of the employed typography and generates a discourse about the visible and invisible.
At last, Chiara Banfi (29) brings two new works, Wish (2009), a pencil on paper drawing series and the installation Welcome (Trail) set upon the gallery façade
Galeria Vermelho is pleased to announce two exhibitions, from January 27 to February 28: Ph Neutro (group exhibition, Hall 1 and 2) and PICNIC, Marco Paulo Rolla’s solo exhibition (Hall 4).
Ph Neutro
Ph Neutro (Ph Neutral) gathers works, mostly first time seen in Sao Paulo, by the artists Marcelo Cidade, Detanico Lain, Héctor Zamora, Rafael Assef, Odires Mlászho, Lia Chaia, Chiara Banfi and Fabio Morais.
Mercado Neutro (Neutral Market – 2008) is the title of the installation created by Marcelo Cidade (29) for the 2008 edition of the MiamiBasel Art Fair (Miami, EUA). With 375 gray molded plastic packages, disposed as if on a regular supermarket display, Cidade continues his sharp critic to the social and economical system confronting street culture elements to the modernist heritage, generating a pendular continuous flow between the social and subjective spheres. His works must be comprehended in this coming and going from the public to the private space. The cement, a recurrent element in his work, here reappears in the packages’ color of Mercado Neutro as a metaphor to the unrestrained growth of general consumption, but also and more specifically to the one related to the art world. Cidade’s Mercado Neutro reasserts his language based on experiment and appropriation of the social public sphere, changing distribution and devices of the architectonic place of capital and generating new perceptions and subjectivities.
The works of the Brazil-based Mexican artist Héctor Zamora (34) propose and materialize spatial experiences, which, according to the artist, must be run through or inhabited by the spectator. His pieces establish a dialogue between organic and geometric forms and also with its composing non-physical elements, what triggers experiences beyond the formalism of these structures and detonates poetical individual perceptions of the space. Topografias Simuladas (Simulated Topographies), Zamora’s work presented in the Ph Neutro exhibition, was developed with the support of Positions in Context: 2007, an exhibition programme by the Cisneros Fontanals Art Foundation (Miami, EUA). Zamora proposes a spatial exercise based upon common geometric techniques used by architects and engineers to develop surfaces. Both for architecture and engineering, these exercises simulate models to verify scales, in order to check if the developed forms are coherent or not with the physical compartments to be developed. In this work, Zamora used a random number (3) to even the pieces and its forms, generating an irregular and bumpy topography which volumes are enhanced according to light reflection. The 72 gray cardboard paper pieces composing Topografias Simuladas are installed on the gallery’s white cube floor, what creates a fictional scenario close to the ones found in sci-fi movies.
Rafael Assef (38) shows Escalas Técnicas (Technical Scales – 2008), a six-image piece created from a single digital file, captured in RAW, of a black tattoo called medium gray, which is also an expression used in photography as a reference of the tonal scale. The RAW in digital photography is the equivalent to the negative in analog photography, that is, raw material that hasn’t been treated yet. Because of the arrival and total implement of digital photography, many computer programs to treat images were developed. Capture One PRO is one among these programs that works as a photo lab where the raw image can be manipulated. This program basically consists of a number scale series based on analog photography such as Exposure Compensation (EC), Contrast Compensation (CC), Saturation Compensation (Sat), Color Temperature or Tint and Focus Tool. Each one of these scales plays a different role in manipulating digital images. From a specific medium gray, Assef created charts with all the functions described above. Each chart generated a unique gray scale, therefore establishing organized systems of digital image treatment. Thus, this work reflects upon photography itself.
Caixa de Força (Power Box – 2009) is a new work by Lia Chaia (30) that may be considered an unfolding from the TEPMOAH installation (2007) initially presented at the 2008 edition of ARCO (Madrid, Spain). Lia Chaia reveals the inside of an electric power box attached with organic and color elements. With this procedure, the artist points out eventual cracks in closed systems and suggests some elastic and malleable ways to live with them.
Fabio Morais (34) shows Brasil x Brazil (2009). From a 70’s soccer team photograph, purchased at Bexiga antique fair, black and white colors were Photoshop removed by the artist and the original gray tones of this B&W image remained. Morais then applied, also using Photoshop tools, the reference index of the book “Arte Contemporânea – uma história concisa” (Contemporary Art – a concise history, Martins Fontes publisher) where important historical artist’s names appear, such as Marcel Duchamp, George Baselitz and Jenny Holzer on the foreign team, and on the Brazilian one, Cildo Meirelles e Hélio Oiticica.
Odires Mlászho (48), presents Matrizes para Línguas Bifurcadas (Matrices to Bifurcated Languages – 2009). With a similar procedure to his previous works, Mlászho removes the paper surface from old German book covers, such as Das Bild der Erde and Revolution im Unsichtbaren leaving only the originally printed in low-relief titles. When applying acrylic paint onto theses surfaces, Mlászho reveals aspects of the employed typography and generates a discourse about the visible and invisible.
At last, Chiara Banfi (29) brings two new works, Wish (2009), a pencil on paper drawing series and the installation Welcome (Trail) set upon the gallery façade