For ArPa 2024, Vermelho presents an encounter between the works of Marilá Dardot and Meia. Here, the works of both artists are grounded in material and conceptual deconstructions and rearticulations that highlight ambiguities and contradictions challenging fixed meanings.
From Marilá Dardot, Vermelho presents works where the artist deals with the materiality of books to construct new readings beyond their original contents. Dardot began working with books in 2014, during a residency in Austria. Surrounded by books written in a language she could not read, the artist turned her attention to their constitutive parts. “Freed from their words and content, I began to read their bodies: covers, text blocks, and endpapers; colors, shapes, and designs from different times and origins,” says Dardot.
From Meia, Vermelho exhibits recent paintings that are created from the artist’s transit, in his movements through the streets or through his circles of affection. Both circuits equip the artist with material for the elaboration of his paintings. On the street, he identifies, selects, and collects elements with constructive and pictorial potential; from his circles of affection, he gains elements that carry symbolic qualities that imbue the works.
“Tornadoes are phenomena that make things happen. Wherever they pass, human life cannot sustain itself and the landscape is altered, creating fertility or destruction. For humans, they can only be observed, seen from afar. In this painting, they emerge from the canvas because it couldn’t contain them.”
Meia
“Tornadoes are phenomena that make things happen. Wherever they pass, human life cannot sustain itself and the landscape is altered, creating fertility or destruction. For humans, they can only be observed, seen from afar. In this painting, they emerge from the canvas because it couldn’t contain them.”
Meia
“Irmãos [brothers] is the name I give to graphic marks that I add to compositions, aiming to distance them from painting and make them something more familiar. They are structural elements of the works that operate in the realm between figuration and abstraction.”
Meia
“Irmãos [brothers] is the name I give to graphic marks that I add to compositions, aiming to distance them from painting and make them something more familiar. They are structural elements of the works that operate in the realm between figuration and abstraction.”
Meia
One Thousand and One Nights is a book without authorship, derived from a legion of anonymous storytellers whose tales were gathered over centuries to form the anthology that is a classic of literature.
The work The Book of the Thousand and One Night’ by Marilá Dardot materializes the history of this obscure and multifaceted origin book, polyphonic, full of intersections, additions, subtractions, anthropophagies, and promiscuities.
One Thousand and One Nights is a book without authorship, derived from a legion of anonymous storytellers whose tales were gathered over centuries to form the anthology that is a classic of literature.
The work The Book of the Thousand and One Night’ by Marilá Dardot materializes the history of this obscure and multifaceted origin book, polyphonic, full of intersections, additions, subtractions, anthropophagies, and promiscuities.
One Thousand and One Nights is a book without authorship, derived from a legion of anonymous storytellers whose tales were gathered over centuries to form the anthology that is a classic of literature.
The work The Book of the Thousand and One Night’ by Marilá Dardot materializes the history of this obscure and multifaceted origin book, polyphonic, full of intersections, additions, subtractions, anthropophagies, and promiscuities.
One Thousand and One Nights is a book without authorship, derived from a legion of anonymous storytellers whose tales were gathered over centuries to form the anthology that is a classic of literature.
The work The Book of the Thousand and One Night’ by Marilá Dardot materializes the history of this obscure and multifaceted origin book, polyphonic, full of intersections, additions, subtractions, anthropophagies, and promiscuities.
In Unknown Code, Dardot works with fragments of books. The covers and areas where the texts were printed have been removed, leaving only the spines organized by size, forming blocks resembling barcodes. It is no longer possible to read the narratives; what remains are only their structures, which used to arrange the pages in the correct order.
This work was presented at the exhibition ‘War of Time,’ Dardot’s solo show at Chácara Lane in São Paulo in 2016
In Unknown Code, Dardot works with fragments of books. The covers and areas where the texts were printed have been removed, leaving only the spines organized by size, forming blocks resembling barcodes. It is no longer possible to read the narratives; what remains are only their structures, which used to arrange the pages in the correct order.
This work was presented at the exhibition ‘War of Time,’ Dardot’s solo show at Chácara Lane in São Paulo in 2016
The Book of Girls was an anthology released in Portugal in 1945, aimed at a young female audience, seeking to blend ‘education and entertainment’. The publisher advertised the anthology as ‘wholesome and pleasant, varied and suggestive’. Despite being authored by women, what characterizes the collection is the propagation of an ideology conforming to the dominant standards of the time. From the apparent superficiality proposed by the collection, Dardot critically transforms it into chromatic fields devoid of content.
The Book of Girls was an anthology released in Portugal in 1945, aimed at a young female audience, seeking to blend ‘education and entertainment’. The publisher advertised the anthology as ‘wholesome and pleasant, varied and suggestive’. Despite being authored by women, what characterizes the collection is the propagation of an ideology conforming to the dominant standards of the time. From the apparent superficiality proposed by the collection, Dardot critically transforms it into chromatic fields devoid of content.
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.
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.
While compiling the units of a language, dictionaries also represent a paradigm in which words perpetuate the powers and privileges of a particular class or nation. In Domine seu idioma [Master your language], Marilá Dardot uses a collection of dictionaries as the basis for a lexical game with expressions associated with speech. The idea of a common language is replaced by that of “their language”, presupposing differences and dissidences, opening gaps for new plural articulations.
While compiling the units of a language, dictionaries also represent a paradigm in which words perpetuate the powers and privileges of a particular class or nation. In Domine seu idioma [Master your language], Marilá Dardot uses a collection of dictionaries as the basis for a lexical game with expressions associated with speech. The idea of a common language is replaced by that of “their language”, presupposing differences and dissidences, opening gaps for new plural articulations.
While compiling the units of a language, dictionaries also represent a paradigm in which words perpetuate the powers and privileges of a particular class or nation. In Domine seu idioma [Master your language], Marilá Dardot uses a collection of dictionaries as the basis for a lexical game with expressions associated with speech. The idea of a common language is replaced by that of “their language”, presupposing differences and dissidences, opening gaps for new plural articulations.
While compiling the units of a language, dictionaries also represent a paradigm in which words perpetuate the powers and privileges of a particular class or nation. In Domine seu idioma [Master your language], Marilá Dardot uses a collection of dictionaries as the basis for a lexical game with expressions associated with speech. The idea of a common language is replaced by that of “their language”, presupposing differences and dissidences, opening gaps for new plural articulations.
While compiling the units of a language, dictionaries also represent a paradigm in which words perpetuate the powers and privileges of a particular class or nation. In Domine seu idioma [Master your language], Marilá Dardot uses a collection of dictionaries as the basis for a lexical game with expressions associated with speech. The idea of a common language is replaced by that of “their language”, presupposing differences and dissidences, opening gaps for new plural articulations.
While compiling the units of a language, dictionaries also represent a paradigm in which words perpetuate the powers and privileges of a particular class or nation. In Domine seu idioma [Master your language], Marilá Dardot uses a collection of dictionaries as the basis for a lexical game with expressions associated with speech. The idea of a common language is replaced by that of “their language”, presupposing differences and dissidences, opening gaps for new plural articulations.
In this series, Dardot works with stripped book covers and Letraset. With the adhesive letters, the artist creates an imaginary glossary with the qualities of words. These qualities, which appear in pairs in the work, sometimes oppose each other and sometimes complement each other, forming verses that could inhabit those vestiges of covers.
In this series, Dardot works with stripped book covers and Letraset. With the adhesive letters, the artist creates an imaginary glossary with the qualities of words. These qualities, which appear in pairs in the work, sometimes oppose each other and sometimes complement each other, forming verses that could inhabit those vestiges of covers.
“Irmãos [brothers] is the name I give to graphic marks that I add to compositions, aiming to distance them from painting and make them something more familiar. They are structural elements of the works that operate in the realm between figuration and abstraction.”
Meia
“Irmãos [brothers] is the name I give to graphic marks that I add to compositions, aiming to distance them from painting and make them something more familiar. They are structural elements of the works that operate in the realm between figuration and abstraction.”
Meia
“The harvest represents cutting and gathering, symbolizing both death and prosperity. The reaper tends to the land, nurturing crops, yet also embodies death, as it is a name given to the one who transports souls from this realm.”
Meia
“The harvest represents cutting and gathering, symbolizing both death and prosperity. The reaper tends to the land, nurturing crops, yet also embodies death, as it is a name given to the one who transports souls from this realm.”
Meia
“Irmãos [brothers] is the name I give to graphic marks that I add to compositions, aiming to distance them from painting and make them something more familiar. They are structural elements of the works that operate in the realm between figuration and abstraction.”
Meia
“Irmãos [brothers] is the name I give to graphic marks that I add to compositions, aiming to distance them from painting and make them something more familiar. They are structural elements of the works that operate in the realm between figuration and abstraction.”
Meia
“Irmãos [brothers] is the name I give to graphic marks that I add to compositions, aiming to distance them from painting and make them something more familiar. They are structural elements of the works that operate in the realm between figuration and abstraction.”
Meia
“Irmãos [brothers] is the name I give to graphic marks that I add to compositions, aiming to distance them from painting and make them something more familiar. They are structural elements of the works that operate in the realm between figuration and abstraction.”
Meia
“This painting was one of my first experiences with encaustic. The trunk that appears breaking through the landscape is a theme that appears in some of my works. He points to the log that is used for a swamp or river crossing, like a rudimentary form of canoe.”
Meia
“This painting was one of my first experiences with encaustic. The trunk that appears breaking through the landscape is a theme that appears in some of my works. He points to the log that is used for a swamp or river crossing, like a rudimentary form of canoe.”
Meia
“A collection of endpapers bearing incomplete ex libris (a mark used to associate the book with a person or a library). It is not known who the books belonged to or what their contents were, but the designs and colors lead us to imagine secret books, enigmas, magical portals to latent knowledge”
– Marilá Dardot
“A collection of endpapers bearing incomplete ex libris (a mark used to associate the book with a person or a library). It is not known who the books belonged to or what their contents were, but the designs and colors lead us to imagine secret books, enigmas, magical portals to latent knowledge”
– Marilá Dardot
In this series, Dardot works with stripped book covers and Letraset. With the adhesive letters, the artist creates an imaginary glossary with the qualities of words. These qualities, which appear in pairs in the work, sometimes oppose each other and sometimes complement each other, forming verses that could inhabit those vestiges of covers.
In this series, Dardot works with stripped book covers and Letraset. With the adhesive letters, the artist creates an imaginary glossary with the qualities of words. These qualities, which appear in pairs in the work, sometimes oppose each other and sometimes complement each other, forming verses that could inhabit those vestiges of covers.
“This painting begins with these sticks that survived a bonfire, likely made by someone experiencing homelessness trying to stay warm. They are remnants of a landscape that I used to structure this other landscape depicting a well, a place for water collection from underground, which could also serve as a pool for diving.”
Meia
“This painting begins with these sticks that survived a bonfire, likely made by someone experiencing homelessness trying to stay warm. They are remnants of a landscape that I used to structure this other landscape depicting a well, a place for water collection from underground, which could also serve as a pool for diving.”
Meia
“The Crossing of Souls is a regulator, a portal between day and night, where the strength of souls resides.”
Meia
“The Crossing of Souls is a regulator, a portal between day and night, where the strength of souls resides.”
Meia
“The Crossing of Souls is a regulator, a portal between day and night, where the strength of souls resides.”
Meia
“The Crossing of Souls is a regulator, a portal between day and night, where the strength of souls resides.”
Meia
“Irmãos [brothers] is the name I give to graphic marks that I add to compositions, aiming to distance them from painting and make them something more familiar. They are structural elements of the works that operate in the realm between figuration and abstraction.”
Meia
“Irmãos [brothers] is the name I give to graphic marks that I add to compositions, aiming to distance them from painting and make them something more familiar. They are structural elements of the works that operate in the realm between figuration and abstraction.”
Meia
For Pinta PArC - Perú Arte Contemporáneo 2023, Vermelho presents a selection from the Estamparada series (2023), by Mônica Nador + JAMAC.
When they are invited to institutional exhibitions, Mônica Nador + JAMAC hold workshops with a group of people who are related to the surroundings of the institution that hosts the exhibition. From the workshops, stencils are generated with images related to the practices of the workshop and the universe of the group of people. These stencils are then used to develop paintings, flags or wall installations in exhibitions. All stencils become part of the JAMAC collection.
For Mônica Nador and JAMAC, asking participants to draw their dreams, desires and memories is a way of resisting mass culture, which homogenizes the reality of each territory.
In Estamparada (2023), Mônica Nador + JAMAC worked from the review of this collection, producing paintings where 19 years of workshops overlap in harmony, generating a profusion of voices and experiences in banners of different colors and proportions.
silkscreen on wall
silkscreen on wall
silkscreen on wall
silkscreen on wall
Quando convidados a expor seu trabalho, Mônica Nador + JAMAC promovem oficinas com um grupo de pessoas da cidade ou instituição com a qual vão trabalhar. A partir dessas experiências, são gerados desenhos, que se tornam estênceis, utilizados nas pinturas produzidas para a exposição. Na série Estamparada, várias imagens geradas nas oficinas são sobrepostas a um acúmulo de 19 anos de atividades do JAMAC.
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When invited to exhibit their work, Mônica Nador + JAMAC promote workshops with a group of people from around the city or institution with which they are going to work. From these experiences, drawings are generated, which become stencils, which will be used in the paintings produced for the exhibition. In the Estamparada series, several images generated by workshops are superimposed on an accumulation of 19 years of JAMAC’s activities.
Quando convidados a expor seu trabalho, Mônica Nador + JAMAC promovem oficinas com um grupo de pessoas da cidade ou instituição com a qual vão trabalhar. A partir dessas experiências, são gerados desenhos, que se tornam estênceis, utilizados nas pinturas produzidas para a exposição. Na série Estamparada, várias imagens geradas nas oficinas são sobrepostas a um acúmulo de 19 anos de atividades do JAMAC.
—
When invited to exhibit their work, Mônica Nador + JAMAC promote workshops with a group of people from around the city or institution with which they are going to work. From these experiences, drawings are generated, which become stencils, which will be used in the paintings produced for the exhibition. In the Estamparada series, several images generated by workshops are superimposed on an accumulation of 19 years of JAMAC’s activities.