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Statuary bronze
Photo Edouard Fraipont
Torneira [Faucet] (2018) is a mundane object that surges with life. This piece is from a series of faucets of outsized proportions that de Souza has been working on since the 1990s. From the mouth of the gold-plated bronze faucet flows a large drop resembling human secretion.
100 x 57cm
Statuary bronze
Photo Edouard FraipontTorneira [Faucet] (2018) is a mundane object that surges with life. This piece is from a series of faucets of outsized proportions that de Souza has been working on since the 1990s. From the mouth of the gold-plated bronze faucet flows a large drop resembling human secretion.
Wood, glass and adhesive tape
Photo Vermelho
In the Act of… series Komatsu works the composition of his frames from the ruin of items made to control the safety of framed works. Glass and structure are broken, instituting both the image and the fixation system for the wall
140 x 205 x 9 cm
Wood, glass and adhesive tape
Photo VermelhoIn the Act of… series Komatsu works the composition of his frames from the ruin of items made to control the safety of framed works. Glass and structure are broken, instituting both the image and the fixation system for the wall
varnished freijo wood
Photo Edouard Fraipont
47 x 68 x 37 cm
varnished freijo wood
Photo Edouard FraipontPhoto Vermelho
Mineral pigmented Epson Ultrachrome inkjet print on Hahnemühle Photo Rag 308g paper; Chinese ink on 95g vellum paper
Photo Vermelho
Ephemeral Monuments, originally presented at the 13th Havana Biennial, is based on a series of performances carried out by professional Cuban athletes at the José Martí Sports Center (Havana). The action was orchestrated around building and sustaining ephemeral bodily constructions which explores ideas of solidarity, union and resilience. The constructions symbolize an exercise of trust and collective effort: if one of the participants fails, everything collapses. The deteriorated sports facilities in the city of Havana, Cuba, are the starting point of this visual essay in which some ideas about the modern architectural movement, sports as an ideological flag and the abandonment of public infrastructure interwoven.
2 pieces: 72 x 101 cm; 33 x 45 cm
Mineral pigmented Epson Ultrachrome inkjet print on Hahnemühle Photo Rag 308g paper; Chinese ink on 95g vellum paper
Photo VermelhoEphemeral Monuments, originally presented at the 13th Havana Biennial, is based on a series of performances carried out by professional Cuban athletes at the José Martí Sports Center (Havana). The action was orchestrated around building and sustaining ephemeral bodily constructions which explores ideas of solidarity, union and resilience. The constructions symbolize an exercise of trust and collective effort: if one of the participants fails, everything collapses. The deteriorated sports facilities in the city of Havana, Cuba, are the starting point of this visual essay in which some ideas about the modern architectural movement, sports as an ideological flag and the abandonment of public infrastructure interwoven.
fiberglass screen, wood, water-based enamel paint and acrylic varnish on concrete
Photo Vermelho
The works from the Realidade Perecivél series were made with glass fiber mesh coated with concrete, painted, lacquered, varnished attached to tbrackets form the top and subsequently fixed to the wall. The artist?s actions causes the concrete layer to be broken gradually, showing the structure of the work, in this manufactoring process coexists the construction and destruction of forms and symbols.
101 x 103 cm (each) - triptych
fiberglass screen, wood, water-based enamel paint and acrylic varnish on concrete
Photo VermelhoThe works from the Realidade Perecivél series were made with glass fiber mesh coated with concrete, painted, lacquered, varnished attached to tbrackets form the top and subsequently fixed to the wall. The artist?s actions causes the concrete layer to be broken gradually, showing the structure of the work, in this manufactoring process coexists the construction and destruction of forms and symbols.
Photo Vermelho
Carved riga pine and crystal
Photo Edouard Fraipont
72 x 36 x 17 cm
Carved riga pine and crystal
Photo Edouard FraipontPhoto Vermelho
colored concrete
Photo Studio Iván Argote ©
Influenced by pre-Colombian and brutalist architecture, Argote’s work often contain messages/ words in various languages that are adopted by what the artist calls “Ternura Radical [Radical Tenderness]” an on-going strategy that relies upon using affection, emotions and humor as subversive tools to engage public audiences on political and personal levels.
180 x 11 x 11 cm
colored concrete
Photo Studio Iván Argote ©Influenced by pre-Colombian and brutalist architecture, Argote’s work often contain messages/ words in various languages that are adopted by what the artist calls “Ternura Radical [Radical Tenderness]” an on-going strategy that relies upon using affection, emotions and humor as subversive tools to engage public audiences on political and personal levels.
Gold leaf glued on ultra MDF board
Photo Edouard Fraipont
In the Radiante system, the word sun is written in different languages, according to a graph that simulates the sun’s rays and that, for each quadrant,the artists assign a letter. Each module/ letteris reproduced in goldplated wood, Nar is the word for sun in Mongolian
150 x 150 cm
Gold leaf glued on ultra MDF board
Photo Edouard FraipontIn the Radiante system, the word sun is written in different languages, according to a graph that simulates the sun’s rays and that, for each quadrant,the artists assign a letter. Each module/ letteris reproduced in goldplated wood, Nar is the word for sun in Mongolian
Photo Vermelho
varnished freijo wood
Photo Edouard Fraipont
106,5 x 40 x 65,5 cm
varnished freijo wood
Photo Edouard Fraipontmilled slate, matte graphite anodized aluminum, Fossil Black marble, black stainless steel, matte black anodized aluminum
Photo Vermelho
Prismatic disjunction is part of a series of works that has as its central axis the concept of rotation of authorial architectures creating a dialogue with the architects Adolf Loos (1870-1933), Ludwig Mies van der Rohe (1886-1969) and Oscar Niemeyer (1907-2012). Tavares uses materials and finishes present in the works of these architects to create modular relationships typical of her own production.
81,4 x 122,8 x 7,5 cm
milled slate, matte graphite anodized aluminum, Fossil Black marble, black stainless steel, matte black anodized aluminum
Photo VermelhoPrismatic disjunction is part of a series of works that has as its central axis the concept of rotation of authorial architectures creating a dialogue with the architects Adolf Loos (1870-1933), Ludwig Mies van der Rohe (1886-1969) and Oscar Niemeyer (1907-2012). Tavares uses materials and finishes present in the works of these architects to create modular relationships typical of her own production.
graphite drawing on expanded PVC and mineral pigmented inkjet print on Hahnemühle Photo Baryta 300g paper
Photo Edouard Fraipont
Based on field trips and archival images of a German photographer of the XIX Century – Albert Frisch – that already manipulated his pictures from indigenous people from the Brazilian Amazon rain forest, a new combined photo manipulation is made over Frisch’s files. A false giant leaf is augmented and a drawing is made to create a ficcional scale and narrative about the forest imaginary. An exotic Colonizer’s tale pushed to the limits of imagination, just like in the old times.
125 x 76 cm and 33,5 x 27 cm
graphite drawing on expanded PVC and mineral pigmented inkjet print on Hahnemühle Photo Baryta 300g paper
Photo Edouard FraipontBased on field trips and archival images of a German photographer of the XIX Century – Albert Frisch – that already manipulated his pictures from indigenous people from the Brazilian Amazon rain forest, a new combined photo manipulation is made over Frisch’s files. A false giant leaf is augmented and a drawing is made to create a ficcional scale and narrative about the forest imaginary. An exotic Colonizer’s tale pushed to the limits of imagination, just like in the old times.
Photo Vermelho
Pigmented mineral inkjet print on Hahnemühle Photo Luster 260g paper
Photo Carlos Motta
This series is composed of a set of photographs that show masked figures manipulating snakes. The images are reminiscent of gay fetish practices associated with “sexual deviations”. The title of the series reproduces the first lines of Inferno, Canto 1, from The Divine Comedy, by Dante Alighieri. The epic poem narrates an allegorical journey through what is essentially the medieval concept of hell.
114,3 x 76,2 cm
Pigmented mineral inkjet print on Hahnemühle Photo Luster 260g paper
Photo Carlos MottaThis series is composed of a set of photographs that show masked figures manipulating snakes. The images are reminiscent of gay fetish practices associated with “sexual deviations”. The title of the series reproduces the first lines of Inferno, Canto 1, from The Divine Comedy, by Dante Alighieri. The epic poem narrates an allegorical journey through what is essentially the medieval concept of hell.
Bronze
Photo Vermelho
The Corpo Fechado series is comprised of a series of vintage whips cast in bronze and sculpted in such way that their motions appear as a frozen instant. These pieces are also part of the series of sculptural and photographic objects that relate to Corpo Fechado: The Devil’s Work. Like in the film, there is a reversal on the handling of the whip as these tools for punishment are inverted in these works, drawing near to BDSM practices where pleasure and pain converge, and where relations of power and submission are consensual.
92 x 33 x 4 cm
Bronze
Photo VermelhoThe Corpo Fechado series is comprised of a series of vintage whips cast in bronze and sculpted in such way that their motions appear as a frozen instant. These pieces are also part of the series of sculptural and photographic objects that relate to Corpo Fechado: The Devil’s Work. Like in the film, there is a reversal on the handling of the whip as these tools for punishment are inverted in these works, drawing near to BDSM practices where pleasure and pain converge, and where relations of power and submission are consensual.
Photo Vermelho
Mdf board, screws and matte acrylic paint
Photo Edouard Fraipont
The Incarnated Figure series features red articulated wooden shapes that resemble dolls used in human figure drawing classes. Installed through the space, the figures seem to float or dance. The morphologies of the figures – called ‘Trans-human’ by Chaia -, although referring to the human anatomy, are deformed.
“Incarnated Figure is a work that refers to the ‘Trans-human’, as it considers not only the human body, but other bodies existing in nature and mythological bodies. This work is also inspired by the body paintings of the original peoples of Brazil, made as protection against evil spirits and as a form of defense to face the enemy,” says Chaia. In this context, the choice of the red color was fundamental for her, since it concerns the awakening of vitality and the potency of the movements, being the color of fire and blood. Chaia quotes Wassily Kandinsky: “Red evokes strength, momentum, energy, decision, joy, triumph. It sounds like a fanfare where the loud, obstinate, annoying sound of the trumpet dominates”.
212 x 210 x 6 cm
Mdf board, screws and matte acrylic paint
Photo Edouard FraipontThe Incarnated Figure series features red articulated wooden shapes that resemble dolls used in human figure drawing classes. Installed through the space, the figures seem to float or dance. The morphologies of the figures – called ‘Trans-human’ by Chaia -, although referring to the human anatomy, are deformed.
“Incarnated Figure is a work that refers to the ‘Trans-human’, as it considers not only the human body, but other bodies existing in nature and mythological bodies. This work is also inspired by the body paintings of the original peoples of Brazil, made as protection against evil spirits and as a form of defense to face the enemy,” says Chaia. In this context, the choice of the red color was fundamental for her, since it concerns the awakening of vitality and the potency of the movements, being the color of fire and blood. Chaia quotes Wassily Kandinsky: “Red evokes strength, momentum, energy, decision, joy, triumph. It sounds like a fanfare where the loud, obstinate, annoying sound of the trumpet dominates”.