Fugues are polyphonic compositions, where one melody overlaps another. The fugues are structured by a main theme, the subject of the composition, with which subsequent “voices” establish variations.
In her series of paintings called Fuga (2019), Longo Bahia employs an Augmented Reality experience where one painting leads to another through the use of an app that reveals covert images.
In Fuga (terceira voz), the series portrays women that were persecuted, tortured or murdered by the military dictatorships of each of the South American countries that aligned themselves with the United States during Operation Condor (1968-1989).

Fugues are polyphonic compositions, where one melody overlaps another. The fugues are structured by a main theme, the subject of the composition, with which subsequent “voices” establish variations.
In her series of paintings called Fuga (2019), Longo Bahia employs an Augmented Reality experience where one painting leads to another through the use of an app that reveals covert images.
In Fuga (terceira voz), the series portrays women that were persecuted, tortured or murdered by the military dictatorships of each of the South American countries that aligned themselves with the United States during Operation Condor (1968-1989).

Nuptias consists of photo-paintings and collages made by Rennó based on wedding photographs. The artists alterations are made with paint, objects, cuttings and recompositions. Besides referring to the plurality of affective unions without regard to belief, race, sexual orientation or any other convention, the artist revisits various icons of the culture of visuality, in both the Occident and the Orient. The photo-paintings and their titles make reference to the ceremonial, the pop culture, recent politics, religion and social inequality.

The works from the Realidade perecível 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.

Cadu’s practice is marked by a transdisciplinary approach. Each project emerges according to conceptual characteristics, with no pre-election of languages or techniques. In his repertoire there are performances, installations, drawings, paintings, objects, sculptures, videos and photographs, influenced by themes related to systems, repetition, games, time and circularity. His works celebrate the relationship between man and nature, rational and instinctive, chaos and rigor.

From the beginning of her career, Cinthia Marcelle was interested in various artistic processes, seeking the raw material of her work in social relations and the daily chaos that surrounds her. Her works bear a temporal character, present in the exploration of repetition and accumulation. Through her work, Marcelle organizes and confuses things, creating interventions that formally reorganize everyday objects and situations.

Oásis uses a system of hoses and filters to produce geometric drawings from the dripping of briny water over paper and iron bars. In a garden-like dynamic, in which shapes are born out of cultivation and care, the images are formed as the ore?s inner layers are gradually exposed through corrosive irrigation. Rock, crystal, fluid and vapor behave as dictated by the alchemical principles Solvet (dissolution) and Coagula (coagulation), trusting the remains left behind by the different stages of depurating matter to establish a phantom of the image.

My current work explores sound structures in a sensory way, where I feel that music and nature come together in a kind of code. … I’ve always thought of sound, volume, and rhythm breaking boundaries and barriers in search of a place, looking for ways to visualize how that sound could be ‘seen’ if traveling in a room, a body, or a garden.
Chiara Banf

Chiara Banfi’s interest lies in the confluence between nature and sound – or nature and music. From her early large scale expansive drawings that invaded and dialogued with the given architectural space forming visual soundwaves to her more recent works deploying rocks as rhythm dispersing solids, her production seeks to give corporality to bodiless findings.

“My relationship with Brazilian indigenous peoples, the guiding force of both my career as a photographer and my life, is essentially one of fondness. This sentiment, over time, has led me to divide my time as a photographer with activities in defense of those peoples’ rights to territory and survival. A demanding task that requires great perseverance.”
Claudia Andujar

Clara Ianni’s work explores the relationship between art and politics. Her practice relies on the use of different medias such as interventions, videos, installation and texts, tackling the dia-logue between performance and material culture. She is interested in exploring class and labor issues within the artistic context as well as the politics of history.

Concrete work can be read as an evocation of the legend of Exaclibur, where the sword Caledfwlch, embedded in a stone (or anvil) can only be obtained by Arthur, as a miraculous symbol of his Nobility and right to the throne of Brittany. Perhaps the shovel stuck in the concrete by Ianni suggests that true power is destined to the worker’s hands.

“My relationship with Brazilian indigenous peoples, the guiding force of both my career as a photographer and my life, is essentially one of fondness. This sentiment, over time, has led me to divide my time as a photographer with activities in defense of those peoples’ rights to territory and survival. A demanding task that requires great perseverance.”
Claudia Andujar

Mil olhos [Thousand Eyes] integrates Chaia’s set of performances made for the camcorder. The static and sequential plan reinforces the experience lived in the situation registered as the main data of the work. According to Chaia, the video is the capture of an action of “insistent, repetitive and delusional movements of the head. Therein lies the potent refusal – the ‘no’ – and the feverish state”.
_{Collaboration: João Marcos de Almeida/ cinematography: Bruno Risas/ direct sound: Juliana R./ edition: João Marcos de Almeida}

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,. Kuara is the word for sun in tupi-guarani.

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.

The works from the Massa falida series are composed of bags of debris used in construction. Sewn together, the bags form banners or flags. Arranged side by side, they show a repetition of textual information from the original product. With ink and solvent, Komatsu erases or highlights excerpts from these original texts and draws lines and graphs, creating new meanings. The trash bag exits the lowest disposable place in construction debris hierarchy to draw attention to the historical repetitions of social disparities.

Nuptias consists of photo-paintings and collages made by Rennó based on wedding photographs. The artist’s alterations are made with paint, objects, cuttings and recompositions. Besides referring to the plurality of affective unions without regard to belief, race, sexual orientation or any other convention, the artist revisits various icons of the culture of visuality, in both the Occident and the Orient. The photo-paintings and their titles make reference to the ceremonial, the pop culture, recent politics, religion and social inequality.

Nuptias consists of photo-paintings and collages made by Rennó based on wedding photographs. The artist’s alterations are made with paint, objects, cuttings and recompositions. Besides referring to the plurality of affective unions without regard to belief, race, sexual orientation or any other convention, the artist revisits various icons of the culture of visuality, in both the Occident and the Orient. The photo-paintings and their titles make reference to the ceremonial, the pop culture, recent politics, religion and social inequality.

“Straight Lines” seeks to think of the line beyond its purely formal and geometric conceptions. The work investigates the straight line as a political construction that condenses and concretizes structures of power and domination. From the selection of straight lines from the 2017 world map, which appear mainly in the region of the former colonies, “Straight Lines” points to the artificial and imposing character of territorial divisions. The geometric and minimalist pattern of the work is built as a product of social and economic relations.

A ArtRio 2019 apresenta Sandra Hegedüs como curadora do programa SOLO, destinado a projetos expositivos com foco em importantes coleções de arte. Brasileira, Sandra vive na França desde 1990, onde desenvolveu atividades de produção audiovisual e deu início à sua coleção particular.
Para o projeto SOLO, Sandra Hegedüs selecionou artistas e suas galerias, que exibirão, em seus estandes, somente trabalhos do artista indicado.

Covers is an extention of the works on collage that Argote has been developping for several years. Digging into historical issues and imagery about the impact of “ideological wars”, this layered compositions behave as allegories about how our subjectivies are conditioned by external forces linked to a certain idea of progress and truth, that has been shaped by historical centers of power in their own conveniences and perdurability. Here the superposition of burned and cut fabrics, makes appear images and texts that confronts slogans, statements, and found fotage, creatng a texture with multiple entraces of lecture. Argote beliefs in the idea of “not-disociation”, which tends to approach big historical issues without avoiding the noise around them, the intrinsic complexity of the way look at them, and also the way they affect us in a personal level.

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”.

Covers is an extention of the works on collage that Argote has been developping for several years. Digging into historical issues and imagery about the impact of “ideological wars”, this layered compositions behave as allegories about how our subjectivies are conditioned by external forces linked to a certain idea of progress and truth, that has been shaped by historical centers of power in their own conveniences and perdurability. Here the superposition of burned and cut fabrics, makes appear images and texts that confronts slogans, statements, and found fotage, creatng a texture with multiple entraces of lecture. Argote beliefs in the idea of “not-disociation”, which tends to approach big historical issues without avoiding the noise around them, the intrinsic complexity of the way look at them, and also the way they affect us in a personal level.

The New Methods series reproduces images from fragments of copies of classical sculptures acquired by Argote in China. Over them, however, the artist inserts texts that he himself created, which reveal his sociopolitical and artistic questionings.

The New Methods series reproduces images from fragments of copies of classical sculptures acquired by Argote in China. Over them, however, the artist inserts texts that he himself created, which reveal his sociopolitical and artistic questionings.

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.