In her series of paintings called Fugue (2019), Dora Longo Bahia proposes Augmented Reality experiences where one painting leads to another through the use of an application that reveals hidden images.

Fugue (Subject) is presented as a red brush stroke that, through the “Fuga por Dora Longo Bahia” app (IOS and Android), is replaced by a video of actress Mayara Baptista screaming.

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.

A figure is contemplating the space, with both feet pointing backwards and with a pleasant and, at the same time, defiant attitude. The sculpture references the notion of the people from the “Antipodes”, the people from the other side, that was common in middle age Europe. This example of mistranslation shows how, in western society, the idea of the “other” implies some kind of negativeness or bizarreness. The “Antipodos” sculpture series shows proud antipodes, they represent the notion that we are all “others”.

Francisco de Orellana (Trujillo, Extremadura; 1511 – ca. between the Amazon River and Orinoco, November 1546), was a Spanish explorer, conquistador and corregedor at the time of Hispanic colonization in America. He participated in the conquest of the Inca Empire and, later, in the discovery of the Amazon River. He was appointed governor in several cities, and was also considered one of the wealthiest conquistadors of his time. In 1535, he participated in the pacification and founding of Portoviejo, where he held the positions of third lieutenant, common mayor and vice-governor. In 1537 he founded the city of Guayaquil, which had been destroyed by native Indians on several occasions and relocated by different Spanish settlers. The following year he received the title of vice-governor of Guayaquil. After he finished rebuilding the city, he left for Quito and, together with Gonzalo Pizarro, organized an expedition that would end with the discovery of the great river. After surviving the river journey, he returned to Spain where he was accused of treason on charges by Pizarro. After being acquitted, he organized another expedition, but was unsuccessful. For this reason, he engaged in piracy and returned to the Amazon River where he died, along with most of his crew, without a specific location along the mouth of the river.

Each sculpture from Iván Argotes Shadows series is made up of sheets of steel that overlap different laser-cut words, forming anthems through this accumulation. Phrases that could be on protest posters mingle with affective revelations, fading the line between sensitivity and rationality.

This series takes as a starting point the book Race and Class in Rural Brazil, produced by Columbia University in partnership with Unesco and published in 1952. The study makes use of photographs in its research methodology, presenting to the participants photographs of people of various race backgrounds, and inviting them to analize according to six attributes: wealth, beauty, intelligence, religiosity, honesty and aptitude for work. The responses are taken into account by the study, which starts to establish racial typologies, to identify recurrent racist manifestations and their criteria, as well as to search for possible structural genesis for Brazilian racism. The published study does not include the photographs used in the research process, and manifests certain fascination with the myth of Brazil as a bastion of racial democracy. The project was carried out in four cities: São Luis (MA), Imperatriz (MA), Ilheus (BA) and São Paulo, inviting people to go to the studio to take on characters and represent reactions and feelings in front of the camera. The various experiences are presented individually accompanied by lines of words taken from the 1952 book.

The New Testament provides two accounts of the genealogy of Jesus, one in the Gospel of Matthew and another in the Gospel of Luke. Matthew’s starts with Abraham, while Luke begins with Adam. Matthew’s genealogy is considerably more complex than Luke’s, besides being overtly schematic. Nicolás Robbio deals with the mythology surrounding the genealogy of Christ to develop his Genealogia de Lucas [Genealogy of Lucas], a schematic system of overlapping aluminum pieces surrounded by black lines that define their perimeters. In addition to making reference to the multi-part retables that narrate religious stories, the reflective aspect of Robbio’s work suggests a kind of mirror to the viewer, and its multiple parts then suggest a multiplicity of possible narratives and connections to our personal genealogy, somehow uniting everyone that sees themselves there in the same descent, in a unique history.

“I started “Manifestantes” one week before the first march of the “revolución diamantina” (a march that protested the rape of a young woman by four police officers in the north of Mexico City). I decided to sew the portraits as soon as I started thinking about a series of large scale sewn-paintings portraying women in different marches and protests around the globe. Privileging the moment of protest and unison – when the voice rises. Sewing for me is a kind of loud drawing. These portraits are voices.”
Tania Candiani

Eclipse of a dream is a work where the symbolic and the architectural intertwine to build a paradoxal object. The materialized form of the portrayed symbol has the peculiarity of showing both inside and outside that simultaneously, differentiated only by their finishes: one of the sides being painted white and the other remaining with its raw materiality. Placing the bricks in the form of a mesh, allows the viewer to see through both sides, playing with the idea of public and private, permission and blockage, with what can be seen and with what can be known.

Eclipse of a dream is a work where the symbolic and the architectural intertwine to build a paradoxal object. The materialized form of the portrayed symbol has the peculiarity of showing both inside and outside that simultaneously, differentiated only by their finishes: one of the sides being painted white and the other remaining with its raw materiality. Placing the bricks in the form of a mesh, allows the viewer to see through both sides, playing with the idea of public and private, permission and blockage, with what can be seen and with what can be known.