Sao Paulo Brazil
In Refurbishment: Building Site, Andrey Zignnatto dives into his roots and elects the brick as an object mediating the experience of the human with culture and the world, subverting the original conditions and uses of this constructive element, opening paths for the questioning of this relationship. The show features recent work by the artist, made in Brazil, Peru and the United Arab Emirates.
MAR 20 – ABR 27 2019
In the installation A popular House (2019), erected in the exhibition space itself, Zignnatto erects a series of walls, fractions of the project for a Brazilian housing program. After being raised, the walls are hollowed out. The artist removes the mud bricks, leaving to view only the cement that previously supported them, leaving behind a ruinous appearance.
Building has always been part of Zignnatto’s life. As a teenager he was his grandfather’s assistant, a bricklayer in the São Paulo countryside city of Jundiaí. It was there that he learned to handle the tools of the trade. Andrey Zignnatto brings attention to a space in constant transformation and subject to changes and delays, just like a place under refurbishment. Not by chance, this transmutation is also close to the field of contemporary art – a territory as ephemeral as life. It is in this imprecise and dynamic environment that the artist reveals the various social contradictions that arise from the relationship between workers and building contractors, in a universe that at once encompasses life and art.
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Andrey Guaianá Zignnatto
Sobre a pele #1 ( Juruna – Xingú ), 2019
80 x 105 cm
I place myself in the pottery and ceramics shops in a state that I call ‘present and available’ to receive and perceive the ‘provocations’ from this place. I believe that this is how I react to this experience, and the process of making art acts as a poetic response to these provocations. The brick serves me as an instrument to manifest an intention, and not only material for the production of sculptures.
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Andrey Guaianá Zignnatto
Tapete de Orações #1 , 2019
146 x 100 cm
Andrey Guaianá Zignnatto
Tapete de Orações #2, 2019
Saco de cimento de papel e tapeçaria
146 x 100 cm
Andrey Guaianá Zignnatto
Tapete de Orações #3, 2019
Saco de cimento de papel e tapeçaria
80 x 55 cm
Andrey Guaianá Zignnatto
Deus é forte, 2018
55 x 40 cm
Andrey Guaianá Zignnatto
Palheta, 2016/2019
185 x 175 cm
Andrey Guaianá Zignnatto
Tapete de Orações #4 , 2019
80 x 55 cm
Manifestations such as Zignnatto’s cannot be considered merely aesthetic experiences or, like many contemporary proposals, interpreted as polished, finalized or automatically absorbed essences. Like a snake, art has left its old skin behind and today, more than ever, this kind of ambiguous nature provides a dynamic with marked aesthetic connotations. It brings along the cracks and fragility inscribed in every utopian project.
— Xenia Bergman, ArtNexus, ed. 113
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Andrey Guaianá Zignnatto
Físsura #1, 2018
Impressão fotográfica em pigmento sobre papel de algodão
55 x 70 cm
Andrey Guaianá Zignnatto
Físsura #2, 2018
Impressão fotográfica em pigmento sobre papel de algodão
55 x 70 cm
Andrey Guaianá Zignnatto
Físsura #3, 2018
Impressão fotográfica em pigmento sobre papel de algodão
55 x 70 cm
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Andrey Guaianá Zignnatto
Território nacional – De todas, uma mesma terra, 2016/2018
Instalação
120 x 100 x 15 cm
