Loading…
Laíza Ferreira
Sem título (da série Territórios Imaginados), 2021
Colagem analógica
14.50 x 21.50 cm
The future doesn’t exist, it’s just a continuous construction that is defined as an intangible temporal imperative of what is to come. It will exist, perhaps, if we take care of the present, which is the only spark of reality that we can hold on to in order to throw ourselves into the webs of time that are continually unfolding, expanding what we know as the past and projecting into the future. The future, then, is characterized as a set of yearnings that catalyzes past and present in latency. In other words, it is the now in movement. The past, in turn, as defined by Wally Salomão, is an editing island where the experiences and documents of time are structured into narratives or certainties that guide the now. We are always left with the present, a space of time that we have passed through and which presents us with the role we play in the place we occupy. We are beings anchored in the eternal present.
What we carry in our luggage, what we are and what we build, as well as what we possess or enjoy, but don’t produce, constitute a set of beings that signify and ratify our own existence – understood as a “being that is”, an entity, in the world while living its own duration. The concept of being embraces all kinds of realities, so it is not possible to fit it into an even more universal notion. Its meanings are shifting, accepting definitions such as “that which is”, “that which exists”, “that which is real”. Thus, a woman, a bird, an airplane, a tree are entities. We also include in this set of attributions what is not material, such as entities, because we know that these constitute the existence of something real, or rather, the materialization of their own essences.
Loading…
Matheus Ribs
Fechar os Corpos II, 2022
Óleo e acrílica sobre tela
144 x 197 cm
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. Each work and artist presents their interest in the world and
different forms of culture, religion, political positioning and research. The work of Antônio Oloxedê, Caio Pacela, Cibelle Arcanjo, Daniel Jablonski, Kika Levy, Laíza Ferreira, Liene Bosquê, Marga Ledora and Matheus Ribs, presents itself as an agent for broader and more complex discussions than we could embrace here. For this reason, each work and artist operates across the board, as a gateway to plurality from their own condition of existence.
In order to communicate values that guarantee plural existences, we haven’t traced a linearity that discusses the meanings that each work harbors exclusively. On the contrary, we wanted to establish a moving connection between works and artists, in which each component acts as an agent of discourses and places, struggles and positions, beliefs and hopes. For this reason, we will realize that at times the works will present themselves as complementary propositions for a reality in constant transformation and ruin of the values that have brought us to the present – considering all the paradoxes of jouissance and violence contained in them. As the philosopher Byung-Chul Han points out, human life is not only radically transitory, but so is the world itself. Aware of this provisionality, we want to reflect on and present not only the entities that silently make up the world, but also how they work to ensure that their own lives, cultures, struggles and hopes are perennial and, above all, free from the threat of annihilation.
In order to connect the artistic poetics presented through the four axes mentioned above – time, archaeologies, other ecologies, faith and belief – we decided to bring the works together because of their formal and research affinities. However, these approximations are not decisive in conferring meaning on the works, but merely serve to weave a curatorial discourse that embraces and propagates the individual narratives of each of the entities.
The first section discusses faith and belief, through the artists’ experiences of religiosity. Antônio Oloxedê presents his enchanted sculptures, which carry with them the knowledge and practices of rituals and define ancestry as a driving force of time and life. Cibelle Arcanjo’s painting establishes a fluid relationship between spiritual entities, nature and our own lives. Caio Pacela approaches contemplation and transcendence from the meditative states of the rite from another religious perspective, linked to neo-Pentecostal practices.
Time and archaeologies brings together four artists who discuss the survival of cultures, knowledge and places. Laíza Ferreira, with her collage, investigates the past and establishes a place of alterity in relation to traditional cultures and peoples, displacing the other from the place imposed by colonial thinking. Liene Bosquê shows signs of her body’s relationship with the world. Impregnated with memories of places and people, her works connect temporalities and point to the discontinuities on which they act as an agent of perpetuation. Marga Ledora, with her drawings-paintings, offers a unique notion of the experience of time and place. Her works, which flirt doubly with abstraction and figuration, pause our perception as if they were discovering a chromatic haven full of memories and sensations. Matheus Ribs is conducting a social investigation into the present. Different forms of life, threatened in their existence, denounce land conflicts and human rights violations from a decolonial perspective, defending territories and traditional communities.
Loading…
Liene Bosquê
New York I, 2017/24
Monotipia, oxidação de ferro sobre linho, algodão e seda
160 x 270 cm
Daniel Jablonski and Kika Levy present other ecologies. They both set out to investigate the relationship between plants and society over time. Daniel recovers images from the 19th century and questions not only the domestication of plant species but also the understanding of the value of the life of these natural beings. In her monotypes, Kika Levy presents us with grasses, inadvertently grown in the streets, and cracks in urban spaces, whose survival depends solely and exclusively on the human desire to allow them to remain where they sprouted.
All the people who make up this real-life exhibition narrate their own visions and experiences in the world. We discuss life in constant movement, its pains and beauties. Everything here is real, even if the artificiality of the images says otherwise, because where there is a flow of life, what is not real does not exist. Ultimately, this exhibition is defined as a libel against forms of domination, against material and symbolic violence, and in favour of the perpetuation of diverse forms of life – including those that were unable to take part in this project. Each work is an invitation, an embrace that brings together and welcomes our own differences and makes us move forward in the eternal construction of a possible future.
