In the Mamarracho series, scribbles are drawn, digitized, magnified 1,000 times and then painted on white canvases. The black lines randomly cross the canvas, flowing onto the wall, making these works hybrid image-objects that simulate graffiti on a blank canvas.
The Mamarrachos are related to the video Retouch (2008), where, in a fictional action for the camera, we see Argote spray painting two paintings by Piet Mondrian.

“My work investigates the intersections of geometry, music, and abstract symbolism, focusing on the structural connections between musical harmony and geometric forms. By examining these relationships, I reveal how patterns in musical harmony and sacred geometry correspond with each other, offering insight into the universal resonance of form.

Music and geometry share an intrinsic relationship. The structures within music, such as the triangles formed by fundamental triads, reflect the simplicity and elegance of harmonic relationships. Visualizing musical chords as geometric forms demonstrates the direct connection between musical theory and geometric structure, enhancing the understanding of harmony in both visual and auditory contexts.

The triangle, as a symbol of balance and unity, is central to many abstract and symbolic systems. In sacred geometry, the equilateral triangle represents equilibrium and interconnectedness. Through my work, I explore how these geometric symbols reflect universal truths, with a focus on their resonance within form and structure.

In my watercolor series, the repetition of triangles moves beyond technique and becomes a meditative process. Each iteration deepens the contemplation of the triangle’s inherent qualities of balance and unity. Through this repeated practice, I explore the significance of the triangle as a fundamental geometric form, both visually and conceptually.

This body of work focuses on the relationship between geometric patterns and musical harmony, using abstraction and repetition to explore the deeper insights embedded in simple forms.”

Chiara Banfi

“My work investigates the intersections of geometry, music, and abstract symbolism, focusing on the structural connections between musical harmony and geometric forms. By examining these relationships, I reveal how patterns in musical harmony and sacred geometry correspond with each other, offering insight into the universal resonance of form.

Music and geometry share an intrinsic relationship. The structures within music, such as the triangles formed by fundamental triads, reflect the simplicity and elegance of harmonic relationships. Visualizing musical chords as geometric forms demonstrates the direct connection between musical theory and geometric structure, enhancing the understanding of harmony in both visual and auditory contexts.

The triangle, as a symbol of balance and unity, is central to many abstract and symbolic systems. In sacred geometry, the equilateral triangle represents equilibrium and interconnectedness. Through my work, I explore how these geometric symbols reflect universal truths, with a focus on their resonance within form and structure.

In my watercolor series, the repetition of triangles moves beyond technique and becomes a meditative process. Each iteration deepens the contemplation of the triangle’s inherent qualities of balance and unity. Through this repeated practice, I explore the significance of the triangle as a fundamental geometric form, both visually and conceptually.

This body of work focuses on the relationship between geometric patterns and musical harmony, using abstraction and repetition to explore the deeper insights embedded in simple forms.”

Chiara Banfi

In this series, Candiani works with the mathematical qualities of traditional Mexican dances. The artist worked from the choreographic notation methodology developed by Zacarías Segura Salinas and presented in the book “Danzas Folkloricas de Mexico”. The study presented in the book seeks to detail the choreographies, so that it is possible to record all the dance movements, considering that movements such as the zapateado had no previous codification.

In his new work, Marcelo Cidade references the emblematic 1950 painting by Aluísio Carvão, a prominent figure of the Grupo Frente.

Active in Rio de Janeiro during the 1950s, the group was pivotal in consolidating concrete art in Brazil. Led by Ivan Serpa, the group sought a radical break from figurative representation, emphasizing the autonomy of visual language, free from the traditional scheme of representation and the national identity project that had prevailed in modern art until then.

Marcelo Cidade reworks Carvão’s painting with spray paint on a textile conglomerate blanket, commonly used in social actions against the cold felt by the growing homeless population in urban centers.

In his new work, Marcelo Cidade references the emblematic 1950 painting by Aluísio Carvão, a prominent figure of the Grupo Frente.

Active in Rio de Janeiro during the 1950s, the group was pivotal in consolidating concrete art in Brazil. Led by Ivan Serpa, the group sought a radical break from figurative representation, emphasizing the autonomy of visual language, free from the traditional scheme of representation and the national identity project that had prevailed in modern art until then.

Marcelo Cidade reworks Carvão’s painting with spray paint on a textile conglomerate blanket, commonly used in social actions against the cold felt by the growing homeless population in urban centers.

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.

Edgard de Souza’s vases are representations of decorative and domestic objects. Imbued with strangeness, they become reservoirs manufactured in skin and fur, suggesting something intimate or visceral, like bodily orifices.

Edgard de Souza’s vases are representations of decorative and domestic objects. Imbued with strangeness, they become reservoirs manufactured in skin and fur, suggesting something intimate or visceral, like bodily orifices.

Edgard de Souza’s vases are representations of decorative and domestic objects. Imbued with strangeness, they become reservoirs manufactured in skin and fur, suggesting something intimate or visceral, like bodily orifices.

The surge of life drive embedded in everyday objects is a constant in Edgard de Souza’s oeuvre and becomes evident in the series of spoons the artist have been developing. The objects were meticulously sculpted from wood logs and, here, they were cast in silver. In Colher lambe colher the silver comes to life with human features and, in a pair, seem to serve each other voluptuously. The size and material of the pieces bring the objects closer to those of daily use and has the potential to envelop the viewer – who could lead them to the mouth – in their malice.

Cara de pau (theater), 2020, features two carved mahogany ping-pong paddles in full play: one in joy, the other in anguish, ready to receive the ball in its face. The reference to Greek theater and the tragedy-comedy duality signals the polarity of emotions that has taken over the world: a zigzag of emotions where one is always in opposition to the other.

“In times of intense denialism, rapid publications on the internet and fake news, we have failed to communicate, we have failed to listen. Dialogues have turned into a violent ping-pong game, a dispute”, contextualizes de Souza.

Edgard de Souza’s forms are ambiguous and fragmented, with signs and traces of corporeality, desire, sexuality and eroticism. His works provoke in the viewer the perception of themselfs and of their human condition, their body, feelings, experiences and memories.

In his M series, Edgard de Souza presents pieces made with cut and glued cowhide, recomposing real fur with artificial patterns. The series emulates animal fur in classic or graphic patterns, in localized organic prints and prints that reference works by other artists.

The representation of constructive processes and constructions in the work of André Komatsu usually contains ruins and the idea of deconstruction. One of the artist’s usual procedures is to attribute a new function to what was waste, either by using it in three-dimensional pieces and installations or by taking it as a medium. Generally, the pieces incorporate, invert, and return as a problem the characteristics of their supports and references.

The power relations inherent in the materials chosen by Komatsu often constitute the real raw material used in his works. Lusco-Fusco brings together the precariousness of Drywall with the ephemeral of the news. With cuts and strokes, Komatsu breaks the surfaces of his paintings into geometric or gestural abstractions, while news fragments suggest representations of what could appear there. While his titles suggest a place between day and night, his forms suggest something between figuration and abstraction.

In the Nuclear Accidents series, Dora Longo Bahia portrays abandoned theme parks set amid major socio-environmental disasters caused by human actions. She addresses these accidents — and the conflict among economic, political, and social interests in resolving and investigating these tragedies — through monumental paintings in fluorescent colors that do not exist in nature.

Milovanović is part of a series of paintings on art transport crates, based on images of Brazilian brutalist buildings and Yugoslav monuments. The wooden crates are dismantled and then reassembled as planned constructions. The figures are painted in colors ranging from black to white, and the compositions between figure and background.

This series of drawings by Carlos Motta depicts scorched landscapes where humans urgently care for one another. The figures attentively hold, carry, and drag each other, visibly dealing with the weight of the bodies but determined to help each other persist amidst deserts and fire.

This series of drawings by Carlos Motta depicts scorched landscapes where humans urgently care for one another. The figures attentively hold, carry, and drag each other, visibly dealing with the weight of the bodies but determined to help each other persist amidst deserts and fire.

This series of drawings by Carlos Motta depicts scorched landscapes where humans urgently care for one another. The figures attentively hold, carry, and drag each other, visibly dealing with the weight of the bodies but determined to help each other persist amidst deserts and fire.

Moscheta uses Etienne-Jules Marey’s photographic research as an imagistic reference, creating poetic framings of physiological studies where questions about space and the fine line between the real and the fabulous, the abstract and the descriptive, arise.
This duality is reflected in Moscheta’s technique, which employs graphite on black expanded PVC, bringing light to the dark.

This series of works continues the artist’s investigation into the role of copper in Peru’s economy, where this natural resource is exported as a raw material for use in tech industries. These new works incorporate a series of abstract symbols based on different modernist corporate logos used by diverse industries and corporate entities. By using these geometric symbols in a traditional woven form, Garrido-Lecca questions the relation between these modern images, tied to the engines of modernization, the global economy, and their links to pre-Columbian abstraction.

Na série Seres notáveis do mundo, Rennó apropria-se das imagens dos bustos de gesso que pertencem à coleção do El Museo Canário (Las Palmas de Gran Canaria, Espanha). Esses bustos tinham como objetivo representar as distintas raças do globo, foram feitos entre 1840 e 1870, e adquiridos para integrar a Sala de Antropologia do museu. Daqueles homens mortos, restaram apenas as máscaras que foram transformadas em bustos de gesso, para um gabinete positivista de antropologia, depois foram imagens fotográficas desses bustos e, finalmente, fantasmas, sombras, espectros sobre as folhas de papel marmorizado artesanalmente.