blue neon and metal frame
Photo edson kumasaka
Neons are a constant presence in the work of Carmela Gross.
Her texts and luminous drawings establish links with the visual communication of the streets: the signs, advertisements, billboards and graffities that appear in public spaces.
NÓS [WE], written in light, summons us to collectivity.
74 x 138 cm
blue neon and metal frame
Photo edson kumasakaNeons are a constant presence in the work of Carmela Gross.
Her texts and luminous drawings establish links with the visual communication of the streets: the signs, advertisements, billboards and graffities that appear in public spaces.
NÓS [WE], written in light, summons us to collectivity.
Photo Vermelho
Camisa 3: Ogum e Esporte Clube Bahia.
Em sua nova série de onze pinturas, André Vargas relaciona as cores dos uniformes de clubes desportivos com cores predominantes dos Orixás nas religiões de matriz africana no Brasil. Os números designados às camisas são os de seus respectivos Odus, que são os números que representam cada um desses Orixás no jogo de búzios.
Vargas põe em contato a história do futebol e a história da religiosidade, evidenciando o fundamento preto da nossa cultura popular. [:en]Camisa 3 - da série Nas onze [Shirt 3 - from the On the eleven series.
Ogum e Esporte Clube Bahia.
In his new series of eleven paintings, André Vargas relates the colors of the uniforms of sports clubs with the predominant colors of the Orixás in the religions of African origin in Brazil. The numbers assigned to the shirts are those of their respective Odus, which are the numbers that represent each of these Orixás in the game of cowries.
Vargas puts the history of football and the history of religiosity in contact, highlighting the black foundation of Brazilian popular culture.[:]
Camisa 3: Ogum e Esporte Clube Bahia.
Em sua nova série de onze pinturas, André Vargas relaciona as cores dos uniformes de clubes desportivos com cores predominantes dos Orixás nas religiões de matriz africana no Brasil. Os números designados às camisas são os de seus respectivos Odus, que são os números que representam cada um desses Orixás no jogo de búzios.
Vargas põe em contato a história do futebol e a história da religiosidade, evidenciando o fundamento preto da nossa cultura popular. [:en]Camisa 3 - da série Nas onze [Shirt 3 - from the On the eleven series.
Ogum e Esporte Clube Bahia.
In his new series of eleven paintings, André Vargas relates the colors of the uniforms of sports clubs with the predominant colors of the Orixás in the religions of African origin in Brazil. The numbers assigned to the shirts are those of their respective Odus, which are the numbers that represent each of these Orixás in the game of cowries.
Vargas puts the history of football and the history of religiosity in contact, highlighting the black foundation of Brazilian popular culture.[:]
Photo Vermelho
81 x 64 cm
PVA on raw cotton Photo Vermelho [:en]In his new series of eleven paintings, André Vargas relates the colors of the uniforms of sports clubs with the predominant colors of the Orixás in the religions of African origin in Brazil. The numbers assigned to the shirts are those of their respective Odus, which are the numbers that represent each of these Orixás in the game of cowries. Vargas puts the history of football and the history of religiosity in contact, highlighting the black foundation of Brazilian popular culture.[:]Photo Vermelho
83 x 64 cm
PVA on raw cotton Photo Vermelho [:pt]Camisa 9 se relaciona com o Paysandu F.C. Em sua nova série de onze pinturas, André Vargas relaciona as cores dos uniformes de clubes desportivos com cores predominantes dos Orixás nas religiões de matriz africana no Brasil. Os números designados às camisas são os de seus respectivos Odus, que são os números que representam cada um desses Orixás no jogo de búzios. Vargas põe em contato a história do futebol e a história da religiosidade, evidenciando o fundamento preto da nossa cultura popular.[:en]Camisa 9 relates to Paysandu F.C. In his new series of eleven paintings, André Vargas relates the colors of the uniforms of sports clubs with the predominant colors of the Orixás in the religions of African origin in Brazil. The numbers assigned to the shirts are those of their respective Odus, which are the numbers that represent each of these Orixás in the game of cowries. Vargas puts the history of football and the history of religiosity in contact, highlighting the black foundation of Brazilian popular culture.[:]
Photo Galeria Vermelho
Camisa 6: Oxóssi e Sociedade Esportiva Palmeiras.
Em sua nova série de onze pinturas, André Vargas relaciona as cores dos uniformes de clubes desportivos com cores predominantes dos Orixás nas religiões de matriz africana no Brasil. Os números designados às camisas são os de seus respectivos Odus, que são os números que representam cada um desses Orixás no jogo de búzios.
Vargas põe em contato a história do futebol e a história da religiosidade, evidenciando o fundamento preto da nossa cultura popular. [:en]Camisa 6 - da série Nas onze [Shirt 6 - from the On the eleven series.
Oxóssi and Sociedade Esportiva Palmeiras.
In his new series of eleven paintings, André Vargas relates the colors of the uniforms of sports clubs with the predominant colors of the Orixás in the religions of African origin in Brazil. The numbers assigned to the shirts are those of their respective Odus, which are the numbers that represent each of these Orixás in the game of cowries.
Vargas puts the history of football and the history of religiosity in contact, highlighting the black foundation of Brazilian popular culture.[:]
81 x 64 cm
PVA on raw cotton Photo Galeria Vermelho [:pt]Camisa 6 - da série Nas onze.Camisa 6: Oxóssi e Sociedade Esportiva Palmeiras.
Em sua nova série de onze pinturas, André Vargas relaciona as cores dos uniformes de clubes desportivos com cores predominantes dos Orixás nas religiões de matriz africana no Brasil. Os números designados às camisas são os de seus respectivos Odus, que são os números que representam cada um desses Orixás no jogo de búzios.
Vargas põe em contato a história do futebol e a história da religiosidade, evidenciando o fundamento preto da nossa cultura popular. [:en]Camisa 6 - da série Nas onze [Shirt 6 - from the On the eleven series.
Oxóssi and Sociedade Esportiva Palmeiras.
In his new series of eleven paintings, André Vargas relates the colors of the uniforms of sports clubs with the predominant colors of the Orixás in the religions of African origin in Brazil. The numbers assigned to the shirts are those of their respective Odus, which are the numbers that represent each of these Orixás in the game of cowries.
Vargas puts the history of football and the history of religiosity in contact, highlighting the black foundation of Brazilian popular culture.[:]
Photo Galeria Vermelho
Camisa 12: Xangô e Clube Náutico Capibaribe.
Em sua nova série de onze pinturas, André Vargas relaciona as cores dos uniformes de clubes desportivos com cores predominantes dos Orixás nas religiões de matriz africana no Brasil. Os números designados às camisas são os de seus respectivos Odus, que são os números que representam cada um desses Orixás no jogo de búzios.
Vargas põe em contato a história do futebol e a história da religiosidade, evidenciando o fundamento preto da nossa cultura popular. [:en]Camisa 12 - da série Nas onze [Shirt 12 - from the On the eleven series.
Xangô and Clube Náutico Capibaribe.
In his new series of eleven paintings, André Vargas relates the colors of the uniforms of sports clubs with the predominant colors of the Orixás in the religions of African origin in Brazil. The numbers assigned to the shirts are those of their respective Odus, which are the numbers that represent each of these Orixás in the game of cowries.
Vargas puts the history of football and the history of religiosity in contact, highlighting the black foundation of Brazilian popular culture.[:]
83 x 62 cm
PVA on raw cotton Photo Galeria Vermelho [:pt]Camisa 12 - da série Nas onze.Camisa 12: Xangô e Clube Náutico Capibaribe.
Em sua nova série de onze pinturas, André Vargas relaciona as cores dos uniformes de clubes desportivos com cores predominantes dos Orixás nas religiões de matriz africana no Brasil. Os números designados às camisas são os de seus respectivos Odus, que são os números que representam cada um desses Orixás no jogo de búzios.
Vargas põe em contato a história do futebol e a história da religiosidade, evidenciando o fundamento preto da nossa cultura popular. [:en]Camisa 12 - da série Nas onze [Shirt 12 - from the On the eleven series.
Xangô and Clube Náutico Capibaribe.
In his new series of eleven paintings, André Vargas relates the colors of the uniforms of sports clubs with the predominant colors of the Orixás in the religions of African origin in Brazil. The numbers assigned to the shirts are those of their respective Odus, which are the numbers that represent each of these Orixás in the game of cowries.
Vargas puts the history of football and the history of religiosity in contact, highlighting the black foundation of Brazilian popular culture.[:]
Photo Edouard Fraipont
23,5 x 44 x 40 cm
statuary bronze Photo Edouard FraipontPhoto Vermelho
Photo Vermelho
Photo Vermelho
60 x 80 x 12 cm
Plush, mdf, styrofoam, regal fabric Photo Vermelho [:pt]Em Cases (2022) Banfi constrói objetos que preveem o acondicionamento, transporte e proteção para um único disco de vinil. No entanto, só há ali a memória desses objetos e suas diferente possibilidades sonoras, dadas por materiais e cores que sugerem ritmos diferentes para cada obra.[:en]In Cases (2022) Banfi builds objects that provide packaging, transport and protection for a single vinyl record. However, there is only the memory of these objects and their different sound possibilities given by materials and colors suggesting different rhythms for each work.[:]
Printing with pigment ink on cotton Hahnemühle Photo Rag Barytha 315g paper
Photo Filipe Berndt
In 1988 I took a ‘double decision’ that radically transformed my relationship with photography: to stop producing new images and dedicate myself to the appropriation and re-reading of what I called ‘photographic residues’, limiting the photographic act to what I considered strictly necessary.
From here on emerged, not as a purpose but as a consequence, both a principle of economy in the production of new imaginaries, and the beginning of an investigation about the different life cycles that photographs have, according to their existence in the world of subjects and their representations. I thought that many of the photographs that I found on the verge of abandon asked for (and also deserved…) a new life, that is, some resignification or a new symbolic function.
I started with the vernacular, which seemed the most natural to me, revisiting and reusing images from family albums. Soon after, I was compelled to enter the magical territory of cinema and its direct relationship with the photographic device. Newly admitted to the post-graduation program at the School of Communications and Arts at USP, having cinema as my main area, the 35mm photograms discarded in the garbage of ECA’s editing room immediately became objects of scrutiny and desire.
The photogram isolated from its context is like a survivor that tells about the suspension of a time that has passed, which is revised (and edited), again, as phantasmagoria. If the phantasmagoria leaves no trace, as soon as the cinematographic device is turned off, the photogram is the proof of its existence. Through mechanisms of intertextuality with painting, advertising, art history and photography, there was in the photograms a myriad of possibilities for reading this ‘suspended time of time’, paraphrasing Maurício Lissovsky, ‘a time of unlimited duration, but determined to end’. The anti-cinema was a cinema in reverse.
Parallel to the frames transformed into large format images there was a small group of objects where movement was something invented or attributed, as if the suspension of time could happen from a collage of photographic images; however, the anti-cinema, here, was a humorous pastiche of what in the 19th century was the phantasmagoria that oscillated between photography and cinema.
Rosângela Rennó, 2022
120 x 110 cm
Printing with pigment ink on cotton Hahnemühle Photo Rag Barytha 315g paper
Photo Filipe BerndtIn 1988 I took a ‘double decision’ that radically transformed my relationship with photography: to stop producing new images and dedicate myself to the appropriation and re-reading of what I called ‘photographic residues’, limiting the photographic act to what I considered strictly necessary.
From here on emerged, not as a purpose but as a consequence, both a principle of economy in the production of new imaginaries, and the beginning of an investigation about the different life cycles that photographs have, according to their existence in the world of subjects and their representations. I thought that many of the photographs that I found on the verge of abandon asked for (and also deserved…) a new life, that is, some resignification or a new symbolic function.
I started with the vernacular, which seemed the most natural to me, revisiting and reusing images from family albums. Soon after, I was compelled to enter the magical territory of cinema and its direct relationship with the photographic device. Newly admitted to the post-graduation program at the School of Communications and Arts at USP, having cinema as my main area, the 35mm photograms discarded in the garbage of ECA’s editing room immediately became objects of scrutiny and desire.
The photogram isolated from its context is like a survivor that tells about the suspension of a time that has passed, which is revised (and edited), again, as phantasmagoria. If the phantasmagoria leaves no trace, as soon as the cinematographic device is turned off, the photogram is the proof of its existence. Through mechanisms of intertextuality with painting, advertising, art history and photography, there was in the photograms a myriad of possibilities for reading this ‘suspended time of time’, paraphrasing Maurício Lissovsky, ‘a time of unlimited duration, but determined to end’. The anti-cinema was a cinema in reverse.
Parallel to the frames transformed into large format images there was a small group of objects where movement was something invented or attributed, as if the suspension of time could happen from a collage of photographic images; however, the anti-cinema, here, was a humorous pastiche of what in the 19th century was the phantasmagoria that oscillated between photography and cinema.
Rosângela Rennó, 2022
Photo Galeria Vermelho
74 x 10 cm
Mahogany and crystal Photo Galeria Vermelho
Photo Galeria Vermelho
Ali, muitas das peças produzidas são pintadas numa câmara específica. Os objetos são apoiados sobre um descanso que absorve bases preparatórias, tintas e vernizes.
Após três anos de acumulação destes materiais, o sólido circular resultante foi serrado. As fatias revelaram inúmeras camadas de tinta, uma topologia artificial que nos aproxima dos ciclos geológicos. Atualmente, um novo bloco está a ser formado desde o segundo semestre de 2020, constituindo um sistema periodicamente reiniciado.[:en]Cadu shares his studio with a company that provides various design and production services for artists. The company, Artes e Ofícios, and Cadu´s studio, is located in the São Cristóvão neighborhood of Rio de Janeiro.
There, many of the objects produced are painted in a specific chamber. The objects are placed on a table that absorbs preparatory bases, paints and varnishes.
After three years of accumulation of these materials, the resulting solid was sawed open. The slices revealed countless layers of paint, an artificial topology that brings us closer to geological cycles.
Currently, a new block is being formed - in the works since the second half of 2020 - constituting a system periodically restarted.[:]
12x65x5 cm
Nitrocellulose lacquer, primer, acrylic varnish and MDF Photo Galeria Vermelho [:pt]O estúdio da Cadu é partilhado com uma empresa que presta vários serviços no campo da concepção e execução de obras artísticas, Artes e Ofícios, localizada sobre São Cristóvão (Rio de Janeiro).Ali, muitas das peças produzidas são pintadas numa câmara específica. Os objetos são apoiados sobre um descanso que absorve bases preparatórias, tintas e vernizes.
Após três anos de acumulação destes materiais, o sólido circular resultante foi serrado. As fatias revelaram inúmeras camadas de tinta, uma topologia artificial que nos aproxima dos ciclos geológicos. Atualmente, um novo bloco está a ser formado desde o segundo semestre de 2020, constituindo um sistema periodicamente reiniciado.[:en]Cadu shares his studio with a company that provides various design and production services for artists. The company, Artes e Ofícios, and Cadu´s studio, is located in the São Cristóvão neighborhood of Rio de Janeiro.
There, many of the objects produced are painted in a specific chamber. The objects are placed on a table that absorbs preparatory bases, paints and varnishes.
After three years of accumulation of these materials, the resulting solid was sawed open. The slices revealed countless layers of paint, an artificial topology that brings us closer to geological cycles.
Currently, a new block is being formed - in the works since the second half of 2020 - constituting a system periodically restarted.[:]
Photo Galeria Vermelho
12x65x5 cm
Nitrocellulose lacquer, primer, acrylic varnish and MDF Photo Galeria Vermelho
Photo Ana Pigosso
50 x 50 x 80 cm
Cement, styrofoam, delivery backpack Photo Ana Pigosso [:pt]A obra de Marcelo Cidade nasceu como uma reação à pandemia, quando o serviço de entrega de motoqueiros tornou-se essencial para o dia a dia da quarentena. Evidenciando a discrepante remuneração dessa categoria de trabalhadores, Cidade homenageou a classe com essa peça que reflete tanto seus procedimentos estéticos habituais a cerca de uma contemporaneidade construída com concreto, quanto o peso carregado nas costas pelos entregadores.[:en]Marcelo Cidade’s work was born as a reaction to the pandemic, when the biker delivery service became essential for everyday life in quarantine. Evidencing the discrepant remuneration of this category of workers, Cidade paid tribute to the class with this piece that reflects both its usual aesthetic procedures around a contemporaneity built with concrete, as well as the weight carried on the back by delivery men.[:]
Photo Filipe Berndt
366 x 140 cm
Silkscreen on fabric Photo Filipe BerndtPhoto Vermelho
42,5 x 35 x 20 cm
Candle and pins on glass and white perforated Eucatex plate Photo Vermelho [:pt]“A coleta envolve uma atitude de busca e uma forma de olhar, em aparência, distraída. Como se a aparente falta de atenção fosse um modo de despojar as coisas de sua função e estar de olho na forma. Na obra de Nicolás Robbio, infiltra-se um impulso no qual não se tem conhecimento previamente do quê se está procurando. Implementa-se, pelo contrário, um gesto de tateio e de sondagem intuitiva de texturas, detalhes, superfícies, situações ou cenas do acaso cotidiano.” trecho de ‘Onde cabe o olho’, 2022, de Clarisa Appendino.[:en]“Collecting, gathering involves an attitude of search and a way of gazing, apparently distracted. As if the apparent lack of attention were a way of stripping things of their function and keeping an eye on form. In the work of NIcolás Robbio, an impulse infiltrates in which one has no prior knowledge of what one is looking for. On the contrary, a gesture of groping and intuitive probing of textures, details, surfaces, situations, or scenes.” excerpt from ‘Where the eye fits’, 2022, by Clarisa Appendino.[:]