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Photo Vermelho
Fixture bases for fluorescent lamps
Photo Edouard Fraipont
In the series “(Un) Monument for V.Tatlin” Marcelo Cidade recreates the Monuments that Dan Flavin made in homage to Vladimir Tatlin, using overlapping fixtures structures for fluorescent lamps. While Flavin uses lamps to argue the impermanence of the materials and thus, of the systems, Cidade works around the ruin. In the recreations of Marcelo Cidade, there is no longer room for impermanence; there is only the useless waste of a utopian plan.
325 x 68,5 x 9 cm
Fixture bases for fluorescent lamps
Photo Edouard FraipontIn the series “(Un) Monument for V.Tatlin” Marcelo Cidade recreates the Monuments that Dan Flavin made in homage to Vladimir Tatlin, using overlapping fixtures structures for fluorescent lamps. While Flavin uses lamps to argue the impermanence of the materials and thus, of the systems, Cidade works around the ruin. In the recreations of Marcelo Cidade, there is no longer room for impermanence; there is only the useless waste of a utopian plan.
Glass cups, stacked coins and wooden shelf painted white
Photo Edouard Fraipont
In the Déjà vu series, Cinthia Marcelle works with the memory of the spectator from the illusion of having already seen something, as the French expression indicates, in free translation, that which is already seen. The expression, however, besides dealing with the false impression of having already lived or seen something, also refers to the possibility of confronting us with a copy or plagiarism of something, as its variation ‘qui manque d’originalité’ (which suffers from lack of originality). Thus, Marcelle elaborated the series that is articulated in three works of three parts each.
3 peças com 23 x 60 x 20 cm cada
Glass cups, stacked coins and wooden shelf painted white
Photo Edouard FraipontIn the Déjà vu series, Cinthia Marcelle works with the memory of the spectator from the illusion of having already seen something, as the French expression indicates, in free translation, that which is already seen. The expression, however, besides dealing with the false impression of having already lived or seen something, also refers to the possibility of confronting us with a copy or plagiarism of something, as its variation ‘qui manque d’originalité’ (which suffers from lack of originality). Thus, Marcelle elaborated the series that is articulated in three works of three parts each.
fabric, silkscreen ink, battens, shoelace
Photo Edouard Fraipont
In NightDay, Cinthia Marcelle proposes a time count from the selection of materials: fabric, paint, timber batten and shoelace. The piece consists of 12 modules with 6 layers of industrially patterned fabric with 60 black stripes on white background. The black stripes are covered gradually by white paint. The same linear measure of covered stripes is transferred to black shoelace which covers segments of battens that accumulate piece by piece over each module. The movement of Marcelle’s clock reflects the time of labor used in the manual realization of each piece in subtraction and addition operations.
222 x 475 x 6 cm
fabric, silkscreen ink, battens, shoelace
Photo Edouard FraipontIn NightDay, Cinthia Marcelle proposes a time count from the selection of materials: fabric, paint, timber batten and shoelace. The piece consists of 12 modules with 6 layers of industrially patterned fabric with 60 black stripes on white background. The black stripes are covered gradually by white paint. The same linear measure of covered stripes is transferred to black shoelace which covers segments of battens that accumulate piece by piece over each module. The movement of Marcelle’s clock reflects the time of labor used in the manual realization of each piece in subtraction and addition operations.
506 acetate prints mounted between two cut glass panels
Photo courtesy of artist
The sequence of images depicts one full course of the ocean tide as it ebbs and flows, taking the subterranean columns of an abandoned club built by the sea. Each image is printed in transparent acetate and mounted between two pieces of glass. The 506 pieces are installed throughout the space in one single, meandering line on the floor, challenging the viewer’s attention.
In case a visitor touches any of the pieces – accidentally or not – the entire work will crash down, remaining on the floor until it is put back into order for the next day.
12 x 9 cm each - polyptych consisting of 506 pieces
506 acetate prints mounted between two cut glass panels
Photo courtesy of artistThe sequence of images depicts one full course of the ocean tide as it ebbs and flows, taking the subterranean columns of an abandoned club built by the sea. Each image is printed in transparent acetate and mounted between two pieces of glass. The 506 pieces are installed throughout the space in one single, meandering line on the floor, challenging the viewer’s attention.
In case a visitor touches any of the pieces – accidentally or not – the entire work will crash down, remaining on the floor until it is put back into order for the next day.
Photo Vermelho
Drilled holes and black cardboard cone on wall
Photo Edouard Fraipont
Variable dimentions
Drilled holes and black cardboard cone on wall
Photo Edouard Fraipontacrylic paint on both sides on canvas and augmented reality available at doralongobahia.org
Photo Vermelho
Abstract paintings hide portraits – invisible to the
naked eye – of women carrying children. Some of
them were forced to leave their countries due to
political conflicts or natural disasters, others belong
to the groups most susceptible to become victims of
violence in Brazil.
To reveal the hidden paintings, Longo Bahia has
developed an augmented reality application for
IOS and Android phones. Download the app for the
augmented reality experience through the QR Code.
230 x 128 cm
acrylic paint on both sides on canvas and augmented reality available at doralongobahia.org
Photo VermelhoAbstract paintings hide portraits – invisible to the
naked eye – of women carrying children. Some of
them were forced to leave their countries due to
political conflicts or natural disasters, others belong
to the groups most susceptible to become victims of
violence in Brazil.
To reveal the hidden paintings, Longo Bahia has
developed an augmented reality application for
IOS and Android phones. Download the app for the
augmented reality experience through the QR Code.
acrylic paint on both sides on canvas and augmented reality available at doralongobahia.org
Photo Ana Pigosso
Abstract paintings hide portraits – invisible to the
naked eye – of women carrying children. Some of
them were forced to leave their countries due to
political conflicts or natural disasters, others belong
to the groups most susceptible to become victims of
violence in Brazil.
To reveal the hidden paintings, Longo Bahia has
developed an augmented reality application for
IOS and Android phones. Download the app for the
augmented reality experience through the QR Code.
230 x 128 cm
acrylic paint on both sides on canvas and augmented reality available at doralongobahia.org
Photo Ana PigossoAbstract paintings hide portraits – invisible to the
naked eye – of women carrying children. Some of
them were forced to leave their countries due to
political conflicts or natural disasters, others belong
to the groups most susceptible to become victims of
violence in Brazil.
To reveal the hidden paintings, Longo Bahia has
developed an augmented reality application for
IOS and Android phones. Download the app for the
augmented reality experience through the QR Code.
Photo Vermelho
833 silver casting
Photo Edouard Fraipont
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.
4 x 19 x 4 cm e 3,5 x 19 x 4 cm
833 silver casting
Photo Edouard FraipontThe 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.
Acrylic on canvas
Photo Studio Ivan Argote
280 x 210 x 18 cm
Acrylic on canvas
Photo Studio Ivan ArgotePhoto Vermelho
HD video – color and sound
Photo video still
Hands opening their wallets and revealing what their owners carry in their private lives. Made in times of explicit government corruption and high political tension in the air, the video was filmed with a cell phone camera approaching people on the streets of Recife and São Paulo, and brings together images that delve into wealth, individuality, anonymity, privacy and power.
4'24''
HD video – color and sound
Photo video stillHands opening their wallets and revealing what their owners carry in their private lives. Made in times of explicit government corruption and high political tension in the air, the video was filmed with a cell phone camera approaching people on the streets of Recife and São Paulo, and brings together images that delve into wealth, individuality, anonymity, privacy and power.
Pigmented mineral inkjet print on Awagami Kozo Thick Natural 110g paper
Photo Vermelho
In the series 27 rue de Fleurus, Angela Detanico and Rafael Lain used the Cubica [Cubic] system, developed by them, to rewrite poems from the book Tender Buttons, by Gertrude Stein. The artists then applied chromatic splotches to the compositions based on paintings in the art collection of Stein, whose residence was located at 27 Fleurus street, in Paris.
55 x 45,1 cm
Pigmented mineral inkjet print on Awagami Kozo Thick Natural 110g paper
Photo VermelhoIn the series 27 rue de Fleurus, Angela Detanico and Rafael Lain used the Cubica [Cubic] system, developed by them, to rewrite poems from the book Tender Buttons, by Gertrude Stein. The artists then applied chromatic splotches to the compositions based on paintings in the art collection of Stein, whose residence was located at 27 Fleurus street, in Paris.
gelatin and silver on Ilford Multigrade Classic 1K glossy paper
Photo reproduction
57 x 38,5 cm each - 12 pieces
gelatin and silver on Ilford Multigrade Classic 1K glossy paper
Photo reproduction