For ArPa 2024, Vermelho presents an encounter between the works of Marilá Dardot and Meia. Here, the works of both artists are grounded in material and conceptual deconstructions and rearticulations that highlight ambiguities and contradictions challenging fixed meanings.
From Marilá Dardot, Vermelho presents works where the artist deals with the materiality of books to construct new readings beyond their original contents. Dardot began working with books in 2014, during a residency in Austria. Surrounded by books written in a language she could not read, the artist turned her attention to their constitutive parts. “Freed from their words and content, I began to read their bodies: covers, text blocks, and endpapers; colors, shapes, and designs from different times and origins,” says Dardot.
From Meia, Vermelho exhibits recent paintings that are created from the artist’s transit, in his movements through the streets or through his circles of affection. Both circuits equip the artist with material for the elaboration of his paintings. On the street, he identifies, selects, and collects elements with constructive and pictorial potential; from his circles of affection, he gains elements that carry symbolic qualities that imbue the works.
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Photo Filipe Berndt
Oil paint, acrylic paint, spray paint, oil pastel, charcoal, brass, raw cotton, interlining, lycra, cardboard, canvas, chair lining and felt on wood mounted on battens
Photo Vermelho
“Tornadoes are phenomena that make things happen. Wherever they pass, human life cannot sustain itself and the landscape is altered, creating fertility or destruction. For humans, they can only be observed, seen from afar. In this painting, they emerge from the canvas because it couldn’t contain them.”
Meia
301 x 389 x 10 cm
Oil paint, acrylic paint, spray paint, oil pastel, charcoal, brass, raw cotton, interlining, lycra, cardboard, canvas, chair lining and felt on wood mounted on battens
Photo Vermelho“Tornadoes are phenomena that make things happen. Wherever they pass, human life cannot sustain itself and the landscape is altered, creating fertility or destruction. For humans, they can only be observed, seen from afar. In this painting, they emerge from the canvas because it couldn’t contain them.”
Meia
Photo Filipe Berndt
Oil paint, acrylic paint, encaustic, oil pastel, dry pastel, charcoal, leather and sheet on discarded drawer
Photo Filipe Berndt
“Irmãos [brothers] is the name I give to graphic marks that I add to compositions, aiming to distance them from painting and make them something more familiar. They are structural elements of the works that operate in the realm between figuration and abstraction.”
Meia
61 x 53 cm
Oil paint, acrylic paint, encaustic, oil pastel, dry pastel, charcoal, leather and sheet on discarded drawer
Photo Filipe Berndt“Irmãos [brothers] is the name I give to graphic marks that I add to compositions, aiming to distance them from painting and make them something more familiar. They are structural elements of the works that operate in the realm between figuration and abstraction.”
Meia
pieces made of book fragments glued to MDF, fixed to the wall with Velcro
Photo Ana Pigosso
One Thousand and One Nights is a book without authorship, derived from a legion of anonymous storytellers whose tales were gathered over centuries to form the anthology that is a classic of literature.
The work The Book of the Thousand and One Night’ by Marilá Dardot materializes the history of this obscure and multifaceted origin book, polyphonic, full of intersections, additions, subtractions, anthropophagies, and promiscuities.
160 x 264 cm
pieces made of book fragments glued to MDF, fixed to the wall with Velcro
Photo Ana PigossoOne Thousand and One Nights is a book without authorship, derived from a legion of anonymous storytellers whose tales were gathered over centuries to form the anthology that is a classic of literature.
The work The Book of the Thousand and One Night’ by Marilá Dardot materializes the history of this obscure and multifaceted origin book, polyphonic, full of intersections, additions, subtractions, anthropophagies, and promiscuities.
pieces made of book fragments glued to MDF, fixed to the wall with Velcro
Photo Ana Pigosso
One Thousand and One Nights is a book without authorship, derived from a legion of anonymous storytellers whose tales were gathered over centuries to form the anthology that is a classic of literature.
The work The Book of the Thousand and One Night’ by Marilá Dardot materializes the history of this obscure and multifaceted origin book, polyphonic, full of intersections, additions, subtractions, anthropophagies, and promiscuities.
160 x 264 cm
pieces made of book fragments glued to MDF, fixed to the wall with Velcro
Photo Ana PigossoOne Thousand and One Nights is a book without authorship, derived from a legion of anonymous storytellers whose tales were gathered over centuries to form the anthology that is a classic of literature.
The work The Book of the Thousand and One Night’ by Marilá Dardot materializes the history of this obscure and multifaceted origin book, polyphonic, full of intersections, additions, subtractions, anthropophagies, and promiscuities.
101 pieces made of book fragments glued to MDF, fixed to the wall with velcro
Photo Filipe Berndt
In Unknown Code, Dardot works with fragments of books. The covers and areas where the texts were printed have been removed, leaving only the spines organized by size, forming blocks resembling barcodes. It is no longer possible to read the narratives; what remains are only their structures, which used to arrange the pages in the correct order.
This work was presented at the exhibition ‘War of Time,’ Dardot’s solo show at Chácara Lane in São Paulo in 2016
160 x 264 cm
101 pieces made of book fragments glued to MDF, fixed to the wall with velcro
Photo Filipe BerndtIn Unknown Code, Dardot works with fragments of books. The covers and areas where the texts were printed have been removed, leaving only the spines organized by size, forming blocks resembling barcodes. It is no longer possible to read the narratives; what remains are only their structures, which used to arrange the pages in the correct order.
This work was presented at the exhibition ‘War of Time,’ Dardot’s solo show at Chácara Lane in São Paulo in 2016
Photo Filipe Berndt
Collage with book and book covers on crescent paper and wood base
Photo Ana Pigosso
The Book of Girls was an anthology released in Portugal in 1945, aimed at a young female audience, seeking to blend ‘education and entertainment’. The publisher advertised the anthology as ‘wholesome and pleasant, varied and suggestive’. Despite being authored by women, what characterizes the collection is the propagation of an ideology conforming to the dominant standards of the time. From the apparent superficiality proposed by the collection, Dardot critically transforms it into chromatic fields devoid of content.
46 x 76 cm
Collage with book and book covers on crescent paper and wood base
Photo Ana PigossoThe Book of Girls was an anthology released in Portugal in 1945, aimed at a young female audience, seeking to blend ‘education and entertainment’. The publisher advertised the anthology as ‘wholesome and pleasant, varied and suggestive’. Despite being authored by women, what characterizes the collection is the propagation of an ideology conforming to the dominant standards of the time. From the apparent superficiality proposed by the collection, Dardot critically transforms it into chromatic fields devoid of content.
Spray paint on donation blanket (textile chipboard)
Photo Vermelho
In “Projeto (re)construtivo: “Movimento” de W.C”, Marcelo Cidade reimagines one of the most emblematic works from Brazilian Concretism, Waldemar Cordeiro’s painting “Movimento”.
Cordeiro’s work was exhibited at the 1st São Paulo Biennial in 1951 and marked the Concrete Art in Brazil. For Cordeiro, the artwork was a product resulting from visual ideas that the artist executed plastically, without any connection to natural reality. In his text “The Object,” from 1956, Cordeiro states: “Artists create […] objects that have historical value in the social life of humanity. The created objects become part of the external, real, and banal world. The partiality of romantics, who seek to make art a mystery and a miracle, discredits the social potential of formal creation.”
For Marcelo Cidade, the external world has basic urgencies that surpass the power of formal creation advocated by Cordeiro. In his work, the painting from 1951 is juxtaposed in a textile conglomerate commonly used in social actions against the cold felt by the growing population experiencing homelessness. With spray paint on a donation blanket, Cidade reaffirms the material potential of everyday needs and confronts the numerous failures of the Brazilian modern project.
190 x 169 cm
Spray paint on donation blanket (textile chipboard)
Photo VermelhoIn “Projeto (re)construtivo: “Movimento” de W.C”, Marcelo Cidade reimagines one of the most emblematic works from Brazilian Concretism, Waldemar Cordeiro’s painting “Movimento”.
Cordeiro’s work was exhibited at the 1st São Paulo Biennial in 1951 and marked the Concrete Art in Brazil. For Cordeiro, the artwork was a product resulting from visual ideas that the artist executed plastically, without any connection to natural reality. In his text “The Object,” from 1956, Cordeiro states: “Artists create […] objects that have historical value in the social life of humanity. The created objects become part of the external, real, and banal world. The partiality of romantics, who seek to make art a mystery and a miracle, discredits the social potential of formal creation.”
For Marcelo Cidade, the external world has basic urgencies that surpass the power of formal creation advocated by Cordeiro. In his work, the painting from 1951 is juxtaposed in a textile conglomerate commonly used in social actions against the cold felt by the growing population experiencing homelessness. With spray paint on a donation blanket, Cidade reaffirms the material potential of everyday needs and confronts the numerous failures of the Brazilian modern project.
Permanent marker on books and artwork crate
Photo Filipe Berndt
While compiling the units of a language, dictionaries also represent a paradigm in which words perpetuate the powers and privileges of a particular class or nation. In Domine seu idioma [Master your language], Marilá Dardot uses a collection of dictionaries as the basis for a lexical game with expressions associated with speech. The idea of a common language is replaced by that of “their language”, presupposing differences and dissidences, opening gaps for new plural articulations.
32,5 x 49 x 19 cm
Permanent marker on books and artwork crate
Photo Filipe BerndtWhile compiling the units of a language, dictionaries also represent a paradigm in which words perpetuate the powers and privileges of a particular class or nation. In Domine seu idioma [Master your language], Marilá Dardot uses a collection of dictionaries as the basis for a lexical game with expressions associated with speech. The idea of a common language is replaced by that of “their language”, presupposing differences and dissidences, opening gaps for new plural articulations.
Permanent marker on books and artwork crate
Photo Filipe Berndt
While compiling the units of a language, dictionaries also represent a paradigm in which words perpetuate the powers and privileges of a particular class or nation. In Domine seu idioma [Master your language], Marilá Dardot uses a collection of dictionaries as the basis for a lexical game with expressions associated with speech. The idea of a common language is replaced by that of “their language”, presupposing differences and dissidences, opening gaps for new plural articulations.
32,5 x 49 x 19 cm
Permanent marker on books and artwork crate
Photo Filipe BerndtWhile compiling the units of a language, dictionaries also represent a paradigm in which words perpetuate the powers and privileges of a particular class or nation. In Domine seu idioma [Master your language], Marilá Dardot uses a collection of dictionaries as the basis for a lexical game with expressions associated with speech. The idea of a common language is replaced by that of “their language”, presupposing differences and dissidences, opening gaps for new plural articulations.
Permanent marker on books and artwork crate
Photo Filipe Berndt
While compiling the units of a language, dictionaries also represent a paradigm in which words perpetuate the powers and privileges of a particular class or nation. In Domine seu idioma [Master your language], Marilá Dardot uses a collection of dictionaries as the basis for a lexical game with expressions associated with speech. The idea of a common language is replaced by that of “their language”, presupposing differences and dissidences, opening gaps for new plural articulations.
32,5 x 49 x 19 cm
Permanent marker on books and artwork crate
Photo Filipe BerndtWhile compiling the units of a language, dictionaries also represent a paradigm in which words perpetuate the powers and privileges of a particular class or nation. In Domine seu idioma [Master your language], Marilá Dardot uses a collection of dictionaries as the basis for a lexical game with expressions associated with speech. The idea of a common language is replaced by that of “their language”, presupposing differences and dissidences, opening gaps for new plural articulations.
Peeled book covers and Letraset
Photo Filipe Berndt
In this series, Dardot works with stripped book covers and Letraset. With the adhesive letters, the artist creates an imaginary glossary with the qualities of words. These qualities, which appear in pairs in the work, sometimes oppose each other and sometimes complement each other, forming verses that could inhabit those vestiges of covers.
26 x 196 cm
Peeled book covers and Letraset
Photo Filipe BerndtIn this series, Dardot works with stripped book covers and Letraset. With the adhesive letters, the artist creates an imaginary glossary with the qualities of words. These qualities, which appear in pairs in the work, sometimes oppose each other and sometimes complement each other, forming verses that could inhabit those vestiges of covers.
Photo Filipe Berndt
Acrylic, oil, oil pastel, dry pastel, charcoal, canvas, iridescent paper and string on wood mounted on a slat
Photo Vermelho
“Irmãos [brothers] is the name I give to graphic marks that I add to compositions, aiming to distance them from painting and make them something more familiar. They are structural elements of the works that operate in the realm between figuration and abstraction.”
Meia
50 x 45 cm
Acrylic, oil, oil pastel, dry pastel, charcoal, canvas, iridescent paper and string on wood mounted on a slat
Photo Vermelho“Irmãos [brothers] is the name I give to graphic marks that I add to compositions, aiming to distance them from painting and make them something more familiar. They are structural elements of the works that operate in the realm between figuration and abstraction.”
Meia
Acrylic paint, oil paint, oil stick, silver tape, wood veneer, felt, net, raw cotton, leather and masking tape on mounted wood
Photo Filipe Berndt
“The harvest represents cutting and gathering, symbolizing both death and prosperity. The reaper tends to the land, nurturing crops, yet also embodies death, as it is a name given to the one who transports souls from this realm.”
Meia
160cm x 140cm
Acrylic paint, oil paint, oil stick, silver tape, wood veneer, felt, net, raw cotton, leather and masking tape on mounted wood
Photo Filipe Berndt“The harvest represents cutting and gathering, symbolizing both death and prosperity. The reaper tends to the land, nurturing crops, yet also embodies death, as it is a name given to the one who transports souls from this realm.”
Meia
Oil paint, acrylic paint, silkscreen paint, dry pastel, oil stick, colored glue, satin, felt, linen, cardboard, matchstick, charcoal, gold pigment and string on resined wood mounted on a wooden slat
Photo Vermelho
“Irmãos [brothers] is the name I give to graphic marks that I add to compositions, aiming to distance them from painting and make them something more familiar. They are structural elements of the works that operate in the realm between figuration and abstraction.”
Meia
57 x 52 cm
Oil paint, acrylic paint, silkscreen paint, dry pastel, oil stick, colored glue, satin, felt, linen, cardboard, matchstick, charcoal, gold pigment and string on resined wood mounted on a wooden slat
Photo Vermelho“Irmãos [brothers] is the name I give to graphic marks that I add to compositions, aiming to distance them from painting and make them something more familiar. They are structural elements of the works that operate in the realm between figuration and abstraction.”
Meia
Acrylic, oil, encaustic, oil pastel, dry pastel, charcoal, bed sheet and leather on wood from a desk
Photo Vermelho
“Irmãos [brothers] is the name I give to graphic marks that I add to compositions, aiming to distance them from painting and make them something more familiar. They are structural elements of the works that operate in the realm between figuration and abstraction.”
Meia
58 x 55 cm
Acrylic, oil, encaustic, oil pastel, dry pastel, charcoal, bed sheet and leather on wood from a desk
Photo Vermelho“Irmãos [brothers] is the name I give to graphic marks that I add to compositions, aiming to distance them from painting and make them something more familiar. They are structural elements of the works that operate in the realm between figuration and abstraction.”
Meia
book endpapers and acrylic
Photo Edouard Fraipont
“A collection of endpapers bearing incomplete ex libris (a mark used to associate the book with a person or a library). It is not known who the books belonged to or what their contents were, but the designs and colors lead us to imagine secret books, enigmas, magical portals to latent knowledge”
– Marilá Dardot
68 x 97 cm aprox.
book endpapers and acrylic
Photo Edouard Fraipont“A collection of endpapers bearing incomplete ex libris (a mark used to associate the book with a person or a library). It is not known who the books belonged to or what their contents were, but the designs and colors lead us to imagine secret books, enigmas, magical portals to latent knowledge”
– Marilá Dardot
Peeled book covers and Letraset
Photo Filipe Berndt
In this series, Dardot works with stripped book covers and Letraset. With the adhesive letters, the artist creates an imaginary glossary with the qualities of words. These qualities, which appear in pairs in the work, sometimes oppose each other and sometimes complement each other, forming verses that could inhabit those vestiges of covers.
26 x 191 cm
Peeled book covers and Letraset
Photo Filipe BerndtIn this series, Dardot works with stripped book covers and Letraset. With the adhesive letters, the artist creates an imaginary glossary with the qualities of words. These qualities, which appear in pairs in the work, sometimes oppose each other and sometimes complement each other, forming verses that could inhabit those vestiges of covers.
Oil paint, acrylic paint, oil pastel, suede paper, plastic paper, wood, felt, glue and charcoal on MDF mounted on a slat
Photo Vermelho
160 x 206 x 3 cm
Oil paint, acrylic paint, oil pastel, suede paper, plastic paper, wood, felt, glue and charcoal on MDF mounted on a slat
Photo VermelhoTissue paper, gum arabic, acrylic paint, oil paint, oil stick, leather, and charcoal on hardboard and MDF mounted on slats
Photo Vermelho
“This painting begins with these sticks that survived a bonfire, likely made by someone experiencing homelessness trying to stay warm. They are remnants of a landscape that I used to structure this other landscape depicting a well, a place for water collection from underground, which could also serve as a pool for diving.”
Meia
175 x 170 x 4 cm
Tissue paper, gum arabic, acrylic paint, oil paint, oil stick, leather, and charcoal on hardboard and MDF mounted on slats
Photo Vermelho“This painting begins with these sticks that survived a bonfire, likely made by someone experiencing homelessness trying to stay warm. They are remnants of a landscape that I used to structure this other landscape depicting a well, a place for water collection from underground, which could also serve as a pool for diving.”
Meia
Oil paint, acrylic paint, silkscreen paint, encaustic paint, varnish, oily stick, suede, glue, paraná paper, plastic paper, brass, cement, gravel, earth and Iansã swords on plasticized wood mounted on a lath
Photo Vermelho
“The Crossing of Souls is a regulator, a portal between day and night, where the strength of souls resides.”
Meia
256 x 192 x 24 cm
Oil paint, acrylic paint, silkscreen paint, encaustic paint, varnish, oily stick, suede, glue, paraná paper, plastic paper, brass, cement, gravel, earth and Iansã swords on plasticized wood mounted on a lath
Photo Vermelho“The Crossing of Souls is a regulator, a portal between day and night, where the strength of souls resides.”
Meia
Oil paint, acrylic paint, silkscreen paint, encaustic paint, varnish, oily stick, suede, glue, paraná paper, plastic paper, brass, cement, gravel, earth and Iansã swords on plasticized wood mounted on a lath
Photo Vermelho
“The Crossing of Souls is a regulator, a portal between day and night, where the strength of souls resides.”
Meia
256 x 192 x 24 cm
Oil paint, acrylic paint, silkscreen paint, encaustic paint, varnish, oily stick, suede, glue, paraná paper, plastic paper, brass, cement, gravel, earth and Iansã swords on plasticized wood mounted on a lath
Photo Vermelho“The Crossing of Souls is a regulator, a portal between day and night, where the strength of souls resides.”
Meia
Acrylic paint, oil paint, encaustic, canvas, thermal canvas, tissue paper, oil pastel, charcoal and white glue on discarded drawer
Photo Filipe Berndt
“Irmãos [brothers] is the name I give to graphic marks that I add to compositions, aiming to distance them from painting and make them something more familiar. They are structural elements of the works that operate in the realm between figuration and abstraction.”
Meia
51 x 41 cm
Acrylic paint, oil paint, encaustic, canvas, thermal canvas, tissue paper, oil pastel, charcoal and white glue on discarded drawer
Photo Filipe Berndt“Irmãos [brothers] is the name I give to graphic marks that I add to compositions, aiming to distance them from painting and make them something more familiar. They are structural elements of the works that operate in the realm between figuration and abstraction.”
Meia