The artists in GROUP SHOW are exhibiting their perspective on the Brazilian political scenario with new artworks as well as pieces that gain a new dimension when placed in this context.

GROUP SHOW features works by Ana Maria Tavares, André Komatsu, Carmela Gross, Cinthia Marcelle, Clara Ianni, Claudia Andujar, Dora Longo Bahia, Fabio Morais, Guilherme Peters, Henrique Cesar, João Loureiro, Laís Myrrha, Lia Chaia, Marcelo Cidade, Marco Paulo Rola, Marilá Dardot, Maurício Ianês, Nicolás Robbio, Rodrigo Braga and Rosângela Rennó, as well as the artist collective Chelpa Ferro and the artist duos Dias & Riedweg and Gisela Motta & Leandro Lima.

Lia Chaia
The sound installation Voz do Brasil, from 2005, uses the famous musical introduction from the government radio program of the same name, in which a passage from the opera O Guarany, by Carlos Gomes, would announce a piece of news about the executive, judiciary or legislative powers. In Chaia’s work, the sound is preceded by a long silence and then is heard once again.

Dora Longo Bahia
In Farsa – Delacroix (La liberté guidant le peuple) [Farce – Delacroix (Liberty Leading the People)] and Farsa – Delacroix (O MST guiando o povo) [Farce – Delacroix [The MST Leading the People)], both from 2013, Longo Bahia bases her work on Karl Marx’s maxim that states, “History repeats itself, first as tragedy, then as farce,” to trace a parallel between the French Revolution and a hypothetical revolution guided by the MST [Movement of Landless Rural Workers]. In the first painting, the artist re-creates the painting by Delacroix, with the same proportions as the original, in green tones. In the second, she substitutes the characters of the original by members of the MST.

Marilá Dardot
República [Republic] (2016) derives from the discourses of the Brazilian members of the Chamber of Deputies during the voting that opened the impeachment process against elected President Dilma Roussef. The artist selected those that justified their vote by reference to Family, God and My Friends. The geometric shapes of the Brazilian flag were divided into three white flags whose geometric figures are formed by the textual mass of the voting justifications in black.

In Demão [Layers] (2016), Marilá Dardot uses protest slogans, lemmas and phrases from Brazilian political history spanning from “Independência ou morte” [Independence or death] to “O petróleo é nosso” [The oil is ours] and “50 anos em 5” [50 years in 5]. These sentences are overlaid chronologically in layers of black and white paint, evoking memory and forgetfulness.

Lais Myrrha
Reparação de danos [Reparation for Damages] is a series of collages made with images published in Brazilian newspapers beginning April 2016, illustrative of some moments of the current political crisis our country is going through.

Marcelo Cidade
In Banco Brasília [Brasília Bench/Bank] (2015), Marcelo Cidade proposes an iconoclastic articulation around the Brazilian modernist promise and the powers that be, through a composition that uses clean dinner plates and empty beer bottles to emulate the building of the National Congress.

Guilherme Peters
O canto dos esquecidos reverbera pelo edifício da vitória [The Song of the Forgotten Reverberates through the Edifice of Victory] (2016), the inaugural speech of former Brazilian President João Goulart, is played in a loop through a series of electrical cords that climb the wall in a geometric design. After finishing its path through the cords, going through a series of guitar effect pedals, the speech is projected into the space, through an amplifier, completely distorted. A set of earphones makes it possible to individually listen to the speech before the distortion.

In Juramento à sombra da república [Oath in the Shadow of the Republic] (2013), Peters refers to the celebrated painting by Jacques-Louis David, Oath of the Horatii. The original painting, from 1784, shows the three Horatii brothers making the Roman salute to their father, swearing to fight for the values of the Roman Republic. The painting symbolized the principle according to which public duty, personal sacrifice, patriotism and the defense of conscientious convictions are values that take precedence over ones own safety and interests. Its main symbol consists in the swords of the three brothers who, in the painting, appear glorified by their father. In Peters’s work, the swords become shadows projected on the father’s empty hands.

Claudia Andujar
In 1964, Claudia Andujar used her camera to record a series of protest marches that became known as the Marcha da família com Deus pela Liberdade [March of the Family with God for Freedom]. Those marches, organized and composed by the highest Brazilian social economic classes, collaborated with the installment of the Brazilian military dictatorship. Lincoln Gordon, the United States ambassador in Brazil told the US Department of State at that time that the “only unfortunate note was the obviously limited participation in the march [by] the lower classes.”

Maurício Ianês
In the neon work Tempo/ Tempo [Time/ Time] (2014), by Maurício Ianês, the word tempo is duplicated with one instance of it running backward, proposing a cyclical character for time.

In the performance Centro de Pesquisa de Ideologia das Imagens [Center of Research into the Ideology of Images] (2015), Ianês will position himself at the gallery’s entrance, receiving the participants, with whom he will hold a conversation. After this personal interview, in which the subjective views of each participant are considered, he will ask them to suggest some image that symbolizes their view of history, politics, or local or global contemporary society. Together, the two will search Internet for the suggested image or something similar. The images chosen by the participants will be printed in A4 format and shown on the wall of the room where the action takes place. The images will then be distributed and arranged by the artist in order to create, through his external view, a narrative of the history of Brazil or the world with the images chosen by the public. Ianês will seek to relate these images by proximity, connecting them. Centro de Pesquisa de Ideologia das Imagens proposes a situation of opening to the public, in such a way that the result of the action and its documentation will be actively and extensively constructed together with the participants.

Clara Ianni
In Tratado [Treaty] (2016), Clara Ianni proposes a sort of study of colors based on the oath of office ceremony of the ministers of Michel Temer’s provisional government. The set of ministers chosen by the interim president was criticized for its lack of gender and racial diversity.

Rosângela Rennó
The series Corpo da Alma [Body of the Soul] (2005) is articulated around a set of images originally published in newspaper articles, of people who are holding photographs of relatives or friends who disappeared in situations of war, terrorism or urban violence. With this procedure, Rennó destabilizes one of the main characteristics of photography, which is to freeze the event, according to critic Paulo Herkenhoff, “demobilizing” the archival sleep of the photograph, making extra-imagetic facts visible.

Ana Maria Tavares
Coluna com Retrovisor [Column with Rearview Mirror] (1997) – the stainless steel columns with mirrors by Ana Maria Tavares question our own presence in the spaces through a powerful reference to the surveillance systems that touch our day life in the cities.

André Komatsu
In the series Diarreia [Diarrhea] (2016), André Komatsu works with magazine pages from the 1970s, covering their contents with compositions that refer to the Brazilian artistic avant-gardes, but allowing small fragments of news about the military dictatorship to show through.

Carmela Gross
Eus [I’s] (2014) – Carmela Gross confronts the phonetic characteristic of the first-person singular personal pronoun in Portuguese (eu), which contains a diphthong, with the possibility of transferring it to the dimension of an inclusive plural action.

Chelpa Ferro
In Buraco [Hole] (2009), by the group Chelpa Ferro, a set of devices constructed for the proliferation of the word – microphone plus loudspeaker – are arranged in a self-contained way, giving rise to a deafening sound.

Cinthia Marcelle
Raspadinha [Scratch Ticket] (2009 / 2016) – Marcelle bases her work on the lottery scratch ticket, which, by way of luck, transfers possession to whoever finds the prize hidden on the scratchable card. On Marcelle’s scratch card, the prize is Poder [as a noun, “power”; as a verb, “to be able to”] written twice in a homocentric way. The repetition of the word refers to its variants as a noun and a verb. On the back of the card, there is a graphic device that allows for the transfer of the prize to someone else.

Dias & Riedweg
The series of backlit works Chapa Quente [Hot Plate] (2014) mixes archival photographs of the protests of June 2013 with X-ray images of the artist duo Dias & Riedweg, altered by the artists.

Fabio Morais
Desenho [Drawing] (2014) is a polyptych composed of five images appropriated from a book on geometric drawing which frame five terms from the Houaiss dictionary: conceituação [assessment], argumentação [argumentation], jurisprudência [jurisprudence], explicação [explanation] and definição [definition]. The work establishes an analogy between geometry, an instrument of human construction, and the procedures that are used as a tool for the construction of thought. Through the alignment of the terms, the montage on the wall creates a drawing about architecture, having “jurisprudence” – which is the breaking of the rules, or an entirely new positioning based directly on the empirical – as the highest point of the “drawing,” which ends at “definition”: the erasing of all the other possibilities.

For its part, Fuzilamento [Execution by Firing Squad] (2016), an alphabet is aligned on the wall, like a firing squad, but also as words are normally aligned. There is only one fallen letter – the letter “I” – which can be read either as the Roman numeral “I” for “one,” alluding to the single individual, or as the English “I,” the pronoun for the personal self.

Gisela Motta & Leandro Lima
In Controle remoto, JN 1975 [Remote Control, JN 1975] (2016), a birdhouse emits light from its entrance, as though the bird that lives inside were watching television. The sound that escapes from the house is a report from a 1975 broadcast of the news program Jornal Nacional of the TV Globo national television network, in which Cid Moreira, then the news program’s anchorman, speaks in praise of the 1964 coup d’état.

Henrique Cesar
In the series of drawings Bioma [Biome] (2016), by Henrique Cesar, oil refineries acquire aspects of microbiomes.

João Loureiro
Catete (2015) aims to produce and commercialize, in partnership with a pajama manufacturer, a version of the pajama worn by former Brazilian President Getúlio Vargas at the moment of his suicide. Consisting of pants and shirt, this version is based on the state of the pajamas before the consummation of the suicide, without the marks of the gunshot, blood and cuts. The artist is interested in the way that the pajama – an everyday, intimate, private object – became a symbol of that historic moment. Catete leads us to think about how, through contingency, over the years and throughout various governmental administrations, a version of this historical episode has been shaped, centered on Getúlio Vargas’s pajamas as an icon of the events that took place in August 1954.

Marco Paulo Rolla
Discurso Fechado [Closed Discourse] (2015) consists of two microphones, made of stone, which face each other connected by the same cord. The microphones are thus blended with the materiality of rock, discussing the inertia of the contemporary discourse.

Nicolás Robbio
In the video installation by Nicolás Robbio (2016) a small out-of-focus projection shows the debates in the Brazilian Chamber of Deputies during the session that preceded the voting for the opening of the impeachment process against elected President Dilma Roussef. A magnifying glass placed between the projector and the projection focuses only on the detail of the person giving sign language for the hearing impaired.

Rodrigo Braga
In the small sculpture by Rodrigo Braga, entitled 24mm (2001), the point of a 24mm firearm projectile was carved into the shape of a fingertip.

OPENING: June 14, 8 p.m.
PERIOD: June 14 through July 16, 2016
PLACE: Galeria Vermelho / Rua Minas Gerais, 350 / 01244010 – São Paulo – SP – Brazil – tel.: +55 11 3138 1520
WEB: www.galeriavermelho.com.br
Further information: [email protected]