Newspapers do more than report facts and record opinions. They polarize, praise, irritate, protect fruits and wrap fish. In the group show presented her, Vermelho takes the opportunity to think about possible connections and dialogues between the selected works, all dealing with print media.
MONDAY, JUNE 4, 2019, presents works by 11 artists from the gallery’s roster and an intervention on the gallery’s facade made collectively by Fernanda Roriz, Julie Uszkurat, Marina Secaf and Pedro Feris, all of whom also worked on the graphic design for the exhibition.
Newspapers do more than report facts and record opinions. They polarize, praise, irritate, protect fruits and wrap fish. In the group show presented her, Vermelho takes the opportunity to think about possible connections and dialogues between the selected works, all dealing with print media.
MONDAY, JUNE 4, 2019, presents works by 11 artists from the gallery’s roster and an intervention on the gallery’s facade made collectively by Fernanda Roriz, Julie Uszkurat, Marina Secaf and Pedro Feris, all of whom also worked on the graphic design for the exhibition.
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Photo Edouard Fraipont
Photo Edouard Fraipont
Photo Reprodução
40 x 60 cm
Impressão jato de tinta sobre papel Photo ReproduçãoPhoto Vermelho
68 x 60,5 cm
Screen printing on newsprint Photo Vermelho [:pt]As obras de Cinthia Marcelle muitas vezes carregam em si um caráter temporal, através do qual a artista acentua e desordena as coisas, criando intervenções que propõem uma reorganização formal de objetos e situações cotidianas. Em Zero de conduta [primeira página], o tempo faz a folha de papel jornal escurecer, realçando a diagramação da página em branco.[:en]Cinthia Marcelle’s works often carry within themselves a temporal character, trough which the artist accentuates and disorders things by creating interventions that propose a formal reorganization of everyday objects and situations. In Zero de conduta [primeira página], time makes the newspaper sheet darken, highlighting the layout of the blank page.[:]Photo Edouard Fraipont
Photo Vermelho
64 x 44,5 cm
Screen printing on newsprint and wooden bracket Photo VermelhoPhoto Vermelho
38 x 33 x 5 cm
Oxidized zinc sheet on velvet and foam Photo Vermelho [:pt]Iniciado em 1992, o projeto Arquivo Universal, de Rosângela Rennó, é um arquivo de textos jornalísticos contendo pequenos relatos ou trechos de histórias pessoais tornadas públicas por meio de jornais, sempre envolvendo a presença ou a existência de uma imagem fotográfica e lidando com questões amorosas. políticas, criminais ou cotidianas.[:en]Begun in 1992, the project Arquivo Universal [Universal Archive], by Rosângela Rennó, is an archive of journalistic texts containing short reports or excerpts from personal stories made public through newspapers, always involving the presence or existence of a photographic image and dealing with amorous, political, criminal or everyday questions..[:]Photo Edouard Fraipont
Photo Vermelho
56 x 31,5 cm cada parte de 3 [ each part of 3]
Acrylic paint on newspaper Photo Vermelho [:pt]Em Olimpiadas, Longo Bahia colecionou jornais da época das olimpíadas do Rio de Janeiro de 2016 e pintou sobre cada primeira página a imagem de um palhaço. Foram 48 pinturas, feitas sobre capas de três jornais (Folha de S Paulo, O Estado de São Paulo e Agora) durante os 16 dias consecutivos de cobertura jornalística em torno do evento. As capas dos jornais desse período chamavam a atenção pela justaposição entre o ufanismo e a falência do sistema político nacional. Sincronicamente, o país celebrava ser o centro das atenções por sediar o maior evento esportivo mundial, e depunha do poder a primeira mulher eleita presidente, em um processo cercado de dúvidas acerca de sua legitimidade.[:en]For Olimpiadas [a play on the words Olympics and joke] Longo Bahia collected newspapers from the time of the Olympics in Brazil and painted the image of a clown on each front page. There are 48 paintings, made on the front pages of three different newspapers from 16 consecutive days of journalistic coverage concerning the event. The newspaper covers from this period drew attention to the juxtaposition between patriotism and the bankruptcy of the national political system. Synchronously, the country celebrated being the center of attentions for hosting the biggest sporting event in the world, and the first woman elected president was deposed in a process surrounded by doubts about its legitimacy[:]Photo Vermelho
56 x 31,5 cm cada parte de 3 [each part of 3]
Acrylic paint on newspaper Photo Vermelho [:pt]Em Olimpiadas, Longo Bahia colecionou jornais da época das olimpíadas do Rio de Janeiro de 2016 e pintou sobre cada primeira página a imagem de um palhaço. Foram 48 pinturas, feitas sobre capas de três jornais (Folha de S Paulo, O Estado de São Paulo e Agora) durante os 16 dias consecutivos de cobertura jornalística em torno do evento. As capas dos jornais desse período chamavam a atenção pela justaposição entre o ufanismo e a falência do sistema político nacional. Sincronicamente, o país celebrava ser o centro das atenções por sediar o maior evento esportivo mundial, e depunha do poder a primeira mulher eleita presidente, em um processo cercado de dúvidas acerca de sua legitimidade.[:en]For Olimpiadas [a play on the words Olympics and joke] Longo Bahia collected newspapers from the time of the Olympics in Brazil and painted the image of a clown on each front page. There are 48 paintings, made on the front pages of three different newspapers from 16 consecutive days of journalistic coverage concerning the event. The newspaper covers from this period drew attention to the juxtaposition between patriotism and the bankruptcy of the national political system. Synchronously, the country celebrated being the center of attentions for hosting the biggest sporting event in the world, and the first woman elected president was deposed in a process surrounded by doubts about its legitimacy.[:]Photo Vermelho
59 x 41 x 3,5 cm
Bent lead plate, newspaper and nails Photo Vermelho [:pt]Um jornal coberto por uma manta de chumbo, permite entrever apenas seu título, bloqueando qualquer notícia. O chumbo, em virtude das aplicações progressivamente mais intensas da energia atômica, tornou-se cada vez mais importante como blindagem contra a radiação, graças à sua excelente resistência à corrosão. O material é, contudo, extremamente tóxico para o corpo humano. A capa de chumbo de Komatsu, assim, ao mesmo nos protege do poder da mídia e nos contamina.[:en]A newspaper, covered by a blanket of lead allows for only a glimpse of its titles, blocking any proper reading. Lead, by virtue of progressive applications of atomic energy, has become increasingly important as shielding against radiation thanks to its excellent corrosion resistance. The material is, however, extremely toxic to the human body. Komatsu’s lead blanket thus both protects us from the power of the media and contaminates us at the same time.[:]Photo Edouard Fraipont
249 x 100 x 40 cm
Acrylic paint on linen mounted on wooden chassis on crystal easel with engraved metal bar Photo Edouard Fraipont [:pt]Instaladas sobre os cavaletes de vidro desenhados por Lina Bo Bardi para a Pinacoteca do MASP, as obras da série Campo – Contracampo (2017) são, aparentemente, telas em branco. Elas trazem em seu verso, no entanto, imagens de confrontos entre manifestantes e policias ocorridas na Avenida Paulista (São Paulo) entre 2013 e 2016. Cada pintura teve gravada em sua barra de sustentação traseira, o nome de uma das instituições culturais instaladas na avenida. Além disso, os títulos dos trabalhos fazem referência à presidência de cada instituição, bem como a data do protesto representado.[:en]Installed on the glass easels designed by Lina Bo Bardi for MASP‘s Pinacotheca, the works from the Campo - Contracampo [field – counterfield] series (2017) are apparently blank canvases. They bring in their back, however, images of clashes between demonstrators and police officers that occurred at Avenida Paulista (São Paulo) between 2013 and 2016. Each painting has engraved on its back-support bar, the name of one of the cultural institutions installed on the avenue. In addition, the titles of the works refer to the presidency of each institution as well as the date of the protest represented.[:]Photo Vermelho
56 x 64 cm + 56 x 63,5 cm
Acrylic paint on newspaper mounted on aluminum Photo Vermelho [:pt]Essa série faz parte de uma prática diária de pintura sobre jornais. Cidade apaga as notícias e as imagens dos periódicos, deixando em evidência rastros geométricos. Linhas de diferentes cores, tamanhos e formas surgem e gráficos perdem sua função original arranjando-se em novas diagramações.[:en]This series is a daily practice of painting on newspapers. Cidade erases the news and the images from the periodicals, leaving in evidence geometric traces. Lines of different colors, sizes and shapes arise and graphics lose their original function by arranging themselves in new patterns.[:]Photo Edouard Fraipont
Photo Estúdio Rosângela Rennó
160 x 110 x 5,5 cm cada peça de 2 [each piece of 2]
Engraving on stainless steel Photo Estúdio Rosângela Rennó [:pt]Corpo da alma é uma série desenvolvida a partir de fotografias publicadas em jornais e manipuladas digitalmente para ficarem com aparência de retícula de impressão. Parte das imagens foi gravada em aço inoxidável, parte foi recortada em vinil adesivo para ser colada diretamente sobre a parede e parte foi impressa colorida sobre papel. As imagens mostram pessoas exibindo retratos de parentes desaparecidos ou de líderes políticos durante protestos.[:en]Body of soul is a series developed from photographs published in newspapers and digitally manipulated to look like halftone. Part of the images was engraved in stainless steel, part was cut into adhesive vinyl to be glued directly on the wall and part was printed in color on paper. The images show people holding portraits of missing relatives or political leaders during protests.[:]Photo Vermelho
60 x 45 x 4 cm
Sandblasted glass with bolts and paint on wall Photo Vermelho [:pt]Iniciado em 1992, o projeto Arquivo Universal, de Rosângela Rennó, é um arquivo de textos jornalísticos contendo pequenos relatos ou trechos de histórias pessoais tornadas públicas por meio de jornais, sempre envolvendo a presença ou a existência de uma imagem fotográfica e lidando com questões amorosas. políticas, criminais ou cotidianas.[:en]Begun in 1992, the project Arquivo Universal [Universal Archive], by Rosângela Rennó, is an archive of journalistic texts containing short reports or excerpts from personal stories made public through newspapers, always involving the presence or existence of a photographic image and dealing with amorous, political, criminal or everyday questions[:]Photo Edouard Fraipont
Photo Edouard Fraipont
Silkcreen printing on plywood
Photo Edouard Fraipont
In the A___________ social series, from 2015, Marcelo Cidade presents images gathered from the Internet showing household break-in attempts. In the images, haphazard burglars are seen stuck in bits of architecture such as windows, chimneys and fences. Along every serigraphed image, Cidade adds aphorisms from the Arquitectura social, três olhares críticos [Social architecture: three critical perspectives] paper, by Luís Santiago Baptista, Joaquim Moreno and Fredy Massad, in which the authors relate essential aspects of relationships and the implications of social architecture in a world fraught with crisis and conflict. Finally, Cidade removes the term “Arquitetura Social” from each axiom, replacing it with a continuous underline, as if waiting for the observer to fill in the gap.
75 x 60 cm
Silkcreen printing on plywood
Photo Edouard FraipontIn the A___________ social series, from 2015, Marcelo Cidade presents images gathered from the Internet showing household break-in attempts. In the images, haphazard burglars are seen stuck in bits of architecture such as windows, chimneys and fences. Along every serigraphed image, Cidade adds aphorisms from the Arquitectura social, três olhares críticos [Social architecture: three critical perspectives] paper, by Luís Santiago Baptista, Joaquim Moreno and Fredy Massad, in which the authors relate essential aspects of relationships and the implications of social architecture in a world fraught with crisis and conflict. Finally, Cidade removes the term “Arquitetura Social” from each axiom, replacing it with a continuous underline, as if waiting for the observer to fill in the gap.
Photo Edouard Fraipont
75 x 60 cm
Silkcreen printing on plywood Photo Edouard Fraipont [:pt]Na série A___________ social, de 2015, Marcelo Cidade apresenta imagens colecionadas a partir da internet em que figuram tentativas de invasão a domicílios. Nas imagens, salteadores inábeis aparecem presos em elementos arquitetônicos como janelas, chaminés e grades. Junto a cada imagem reproduzida em serigrafia, Cidade acrescenta aforismos retirados do texto Arquitectura social, três olhares críticos, de Luís Santiago Baptista, Joaquim Moreno e Fredy Massad, aonde os autores articulam aspectos essenciais das relações e implicações da arquitetura social num mundo em crise e conflito. Cidade, finalmente, retira o termo “Arquitetura Social” de cada axioma, deixando em seu lugar uma linha, como que a ser preenchida pelo observador.[:en]In the A___________ social series, from 2015, Marcelo Cidade presents images gathered from the Internet showing household break-in attempts. In the images, haphazard burglars are seen stuck in bits of architecture such as windows, chimneys and fences. Along every serigraphed image, Cidade adds aphorisms from the Arquitectura social, três olhares críticos [Social architecture: three critical perspectives] paper, by Luís Santiago Baptista, Joaquim Moreno and Fredy Massad, in which the authors relate essential aspects of relationships and the implications of social architecture in a world fraught with crisis and conflict. Finally, Cidade removes the term “Arquitetura Social” from each axiom, replacing it with a continuous underline, as if waiting for the observer to fill in the gap.[:]Photo Edouard Fraipont
75 x 60 cm
Screen printing on plywood Photo Edouard Fraipont [:pt]Marcelo Cidade trabalha com imagens em que figuram tentativas de invasão a domicílios. Nas imagens, assaltantes aparecem presos em elementos arquitetônicos como janelas, chaminés e grades. Junto a cada imagem reproduzida em serigrafia, Cidade acrescenta aforismos retirados do texto Arquitectura social, três olhares críticos, de Luís Santiago Baptista, Joaquim Moreno e Fredy Massad, onde os autores articulam aspectos da arquitetura social num mundo em crise e conflito. Cidade, finalmente, retira o termo “Arquitetura Social” de cada axioma, deixando em seu lugar uma linha a ser preenchida pelo observador.[:en]Marcelo Cidade works with images showing household break-in attempts. In the images, burglars are seen stuck in elements of architecture such as windows, chimneys and fences. Along with every image, Cidade adds aphorisms from the Arquitectura social, três olhares críticos [Social architecture: three critical perspectives] paper, by Luís Santiago Baptista, Joaquim Moreno and Fredy Massad, in which the authors relate essential aspects of social architecture in a world fraught with crisis and conflict. Finally, Cidade removes the term “Arquitetura Social” from each axiom, replacing it with a line to be completed by the viewer.[:]Photo Vermelho
40 x 30 cm
Performance and risograph printing on newsprint Photo VermelhoPhoto Edouard Fraipont
Someone reads a newspaper with the first-page headline: “The Imbecil,” but otherwise totally blank. The performer reads throughout the entire time, sometimes aloof from his surroundings, sometimes interacting with the people, always with the newspaper highly visible to the public. The Imbecil can be acquired at the Tijuana bookstand as a souvenir of the performance, creating an induction mechanism where the performance itself is the advertisement for the newspaper, thus reproducing one of the structures of capital.
40 x 30 cm
Performance and risograph printing on newsprint Photo Edouard FraipontSomeone reads a newspaper with the first-page headline: “The Imbecil,” but otherwise totally blank. The performer reads throughout the entire time, sometimes aloof from his surroundings, sometimes interacting with the people, always with the newspaper highly visible to the public. The Imbecil can be acquired at the Tijuana bookstand as a souvenir of the performance, creating an induction mechanism where the performance itself is the advertisement for the newspaper, thus reproducing one of the structures of capital.
Photo Vermelho
30 x 25 cm fechado [closed]
Offset printing on newsprint Photo Vermelho [:pt]Alucinação Coletiva é um jornal feito a partir de manchetes e legendas de fotografias apropriadas de revistas das décadas de 1960 e 70 que, tiradas do contexto de suas reportagens, deixam de ser anacrônicas e ganham atemporalidade - além de evidenciarem um apelo literário estranho à neutralidade jornalística.[:en]Alucinação coletiva [Collective hallucination] is a newspaper made with headlines and photo captions appropriate from magazines from the 1960s and 70s which, taken out of context of their reporting, cease to be anachronistic and gain timelessness - also evidence some strange literary appeal to the journalistic neutrality.[:]Photo Edouard Fraipont
Photo Edouard Fraipont
113 x 276 cm
Latex paint on plywood Photo Edouard Fraipont [:pt]Na série Demão (2016), Marilá Dardot usa slogans, lemas e frases de protestos pesquisados na história política brasileira desde “Independência ou morte”, passando por “Fora, Collor” e “Não vai ter golpe”. São sentenças sobrepostas cronologicamente com camadas de tinta preta e branca, evocando memória e esquecimento.[:en]In the Demão series, Marilá Dardot uses protest slogans, lemmas and phrases from Brazilian political history spanning from “Independência ou morte” [Independence or death] to “Fora, Collor” [out Collor] e “Não vai ter golpe” [No coup]. These sentences are overlaid chronologically in layers of black and white paint, evoking memory and forgetfulness[:]Photo Edouard Fraipont
50 x 80 cm
Acrylic paint on broken laminated glass Photo Edouard Fraipont [:pt]O título dessa série faz referência ao refrão da música Polícia, da banda punk brasileira Mercenárias. Longo Bahia utiliza vidros quebrados em referência as vitrines de bancos da avenida Paulista, quebradas em algumas manifestações, como suporte para suas pinturas que retratam conflitos entre polícia e manifestantes em diferentes cidades do globo. A artista utiliza imagens oriundas do fotojornalismo como matriz para o trabalho.[:en]The title of this series refers to the refrain of the song Polícia, by Brazilian punk band Mercenárias. Longo Bahia uses broken glass in reference to banks windows at Avenida Paulista, broken during some protests, as support for her paintings that portray conflicts between police and demonstrators in different cities of the globe. The artist uses images from the photojournalism as a matrix for the work.[:]Photo Edouard Fraipont
15 x 15 cm
Acrylic paint on broken laminated glass Photo Edouard Fraipont [:pt]O título dessa série faz referência ao refrão da música Polícia, da banda punk brasileira Mercenárias. Embora lançada nos anos 1980, a música serve à militância de hoje. Um QR Code fica disponível para que o espectador tenha acesso à música. Longo Bahia utiliza vidros quebrados de vitrines blindadas de bancos da avenida Paulista (centro financeiro da cidade de São Paulo e palco de manifestações de todo tipo) como suporte para suas pinturas que retratam conflitos entre polícia e manifestantes em diferentes cidades do globo ou, como aqui, tratam de maneira icônica armas usadas nesses conflitos[:en]The title of this series is taken from the refrain of the music Polícia [Police], by Brazilian punk band Mercenarias. Although released in the 1980s, the song serves the current worldwide wave of activism. A QR Code is available so the viewer can listen to the song. As support for these paintings, Longo Bahia uses broken glass from armored windows from banks from the Avenida Paulista, one of the financial centers of São Paulo, and stage for all kinds of demonstrations. The images show recent clashes between protesters, the police and sometimes the military police from various protests and manifestations around the world, or, like in this case, they treat in an iconic manner weapons used in those conflicts[:]Acrylic paint on broken laminated glass
Photo Edouard Fraipont
The title of this series refers to the refrain of the song Polícia, by Brazilian punk band Mercenárias. Longo Bahia uses broken glass in reference to banks windows at Avenida Paulista, broken during some protests, as support for her paintings that portray conflicts between police and demonstrators in different cities of the globe. The artist uses images from the photojournalism as a matrix for the work.
50 x 80 cm
Acrylic paint on broken laminated glass
Photo Edouard FraipontThe title of this series refers to the refrain of the song Polícia, by Brazilian punk band Mercenárias. Longo Bahia uses broken glass in reference to banks windows at Avenida Paulista, broken during some protests, as support for her paintings that portray conflicts between police and demonstrators in different cities of the globe. The artist uses images from the photojournalism as a matrix for the work.
Photo Reprodução
165 x 112 cm
Mineral pigment ink on paper Photo Reprodução [:pt]Corpo da alma é uma série desenvolvida a partir de fotografias publicadas em jornais e manipuladas digitalmente para ficarem com aparência de retícula de impressão. Parte das imagens foi gravada em aço inoxidável, parte foi recortada em vinil adesivo para ser colada diretamente sobre a parede e parte foi impressa colorida sobre papel. As imagens mostram pessoas exibindo retratos de parentes desaparecidos ou de líderes políticos durante protestos.[:en]Body of soul is a series developed from photographs published in newspapers and digitally manipulated to look like halftone. Part of the images was engraved in stainless steel, part was cut into adhesive vinyl to be glued directly on the wall and part was printed in color on paper. The images show people holding portraits of missing relatives or political leaders during protests.[:]Mineral pigment ink on paper
Photo Reproduction
Body of soul is a series developed from photographs published in newspapers and digitally manipulated to look like halftone. Part of the images was engraved in stainless steel, part was cut into adhesive vinyl to be glued directly on the wall and part was printed in color on paper. The images show people holding portraits of missing relatives or political leaders during protests.
165 x 112 cm
Mineral pigment ink on paper
Photo ReproductionBody of soul is a series developed from photographs published in newspapers and digitally manipulated to look like halftone. Part of the images was engraved in stainless steel, part was cut into adhesive vinyl to be glued directly on the wall and part was printed in color on paper. The images show people holding portraits of missing relatives or political leaders during protests.
Photo Edouard Fraipont
35 x 35 cm
Billiard balls and crumpled newspaper Photo Edouard Fraipont [:pt]A apropriação de objetos enquanto informação estético-textual, que há em Violação, repete-se em Podre (2016). Na obra, um conjunto de bolas de bilhar dispostas em triângulo, prontas para a tacada inicial, tem o jogo impossibilitado pela bola de número 9, que foi substituída por uma bola de jornal amassado. Para Morais, o jornal ali colocado, finge garantir o jogo, mas, na verdade, estraga todo o conjunto.[:en]The appropriation of objects as aesthetic-textual information, as seen in Violação, is repeated in Podre [Spoiled] (2016). In the work, a set of billiard balls arranged in a triangle, ready for the first player’s break, reveal that the game is impossible due to ball number 9, which was substituted by a ball of crumpled up newspaper. For Morais, the newspaper placed there pretends to make the game possible yet actually spoils the entire set.[:]Video. B&W, no sound
Photo Reprodução
Carmela Gross collected, from newspapers, images of conflicts and confrontations in various countries, as well as images of the fires that consumed Brazilian cultural institutions in this century, to compose the video Luz del Fuego II. The title of the work comes from the artistic name of Dora Vivacqua, who was a Brazilian dancer, naturist, actress and feminist who lived
11’24’’
Video. B&W, no sound
Photo ReproduçãoCarmela Gross collected, from newspapers, images of conflicts and confrontations in various countries, as well as images of the fires that consumed Brazilian cultural institutions in this century, to compose the video Luz del Fuego II. The title of the work comes from the artistic name of Dora Vivacqua, who was a Brazilian dancer, naturist, actress and feminist who lived
Photo Vermelho
47 x 90 cm
Ink on coconut fiber Photo Vermelho [:pt]Capacho 10 faz parte de uma série de dez capachos de fibra de coco, que revelam frases ditas por personalidade públicas, políticos e filósofos, previamente reunidas e apresentadas na obra Blocão (2014) e na performance Nada quase nada (2016).[:en]Doormat 10 is part of a series of 10 doormats of coconut fiber, that reveal sentences said by politicians, philosophers and public personalities, previously gathered and presented in Dias & Riedweg’s work Big Block (2014) and in the performance Nothing almost nothing (2016)[:]