Sao Paulo Brazil
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Curatorial essay by Ana Roman about Marina Caverzan's solo exhibition, Luminous Bodies.
“Movement offers opportunity, recreation, and profit. For others, movement is dangerous and restricted, and its social expulsions are much more severe and permanent.”1 “It is common to think that archaeology studies the past, but this idea is incorrect. Archaeology studies present phenomena: archaeological sites and other types of records that have traveled through time, sometimes […]
Hamburger's photos prove that it is possible to maintain a contemporary attitude towards the artistic debate without necessarily making use of new image production technologies.
First of all, we need to talk about red, because it's the color that comes to the forefront in Stamps, the series of works that make up Heleno Bernardi's Rumors exhibition. The first color in the history of art dyed the walls of caves and later metamorphosed into fire and blood in the many odysseys of the image.
Based on the project built for the gallery in 2024, this inaugural exhibition discusses four central axes through the entities: time, archaeologies, other ecologies, faith and belief. These pillars, which group together without segregating the artists and their interests, affirm discourses on plural ways of existing in the world, despite the hegemonic structures that harm or make impossible the different ways of life that we defend here.
By Luciara Ribeiro I Observing the changes in Sandra Mazzini's work was a step that involved thinking about image theories, creative processes and their reception. Mazzini is an artist who looks to the landscape for ways to flirt with the real and the imaginary.
They say we are drawn to people, places, and situations by resonance. It's no wonder the story of the Mekong River and its people caught Jeane Terra's attention. If there's one theme that has permeated the artist's work since the beginning of her career, it's the emotional memory connected to places and people that have ceased to exist.
Guilherme Santos da Silva is a demanding artist who discards what he doesn't consider to be resolved. Thus, the constructive and delicate geometry that we see in his poetics conceals a passionate relationship with each new composition.
The abyssal and feminine gaze towards vertiginous affection is the guiding thread of this exhibition. In the meeting of artists open to the unforeseen, viscerality and overflow reveal, in the abyss of gesture, a path to invention.
In addition to form, the operations involved in the works presented by Carolina Martinez, Mano Penalva, Heleno Bernardi, Marina Caverzan, Julia da Mota and Renato Rios are not just analytical in their use of geometry.
Ricardo Siri incorporates the world into the material of art. He chooses literality as neoconcretude. And he imbues the environment with allusions, affections, emotions and sound.
The curator investigates the work of Stephan Doitschinof, inspired by historical, religious, political, philosophical and environmental symbols.
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