Sao Paulo Brazil
Terra Braba: Co Yby Ore Retama presents a brief overview of Andrey Guaianá Zignnatto’s production, showing the artist’s material and poetic trajectory. The exhibition is part of the series Co Yby Ore Retama – This land is our place, which will take place between 2021 and 2022, in cultural institutions of São Paulo, such as the Museum of the City of São Paulo and the Afro Brazil Museum.
More than a narrow panorama of Andrey Guaianá Zignnatto’s career, Terra Braba: Co Yby Ore Retama is a celebration of memories and of new paths. Between 2021 and 2022, the Co Yby Ore Retama project occupied cultural spaces in São Paulo. History and ancestry spread and sowed the seeds of art and reflection in a metropolis that constantly erases its original narratives. However, these narratives have deep and widespread roots, they penetrate the soil and state loud and clear: “This land is our place!” A place that precedes the very idea of art, its institutions and agents – and in the very region of Janaina Torres Gallery’s new headquarters, Barra Funda, where the exhibition opens, the Guaianá people had already made their home.
From bricks to graphs, we perceive in this moment the junction between matter and memory. The artist’s essence and history merge with the materials, which, through his experience in building sites and potteries, come to receive both the building structure and the villages’ resistance. The lines and inventive ingenuity of the bricks and cement bags reverberate the desire for subjective and poetic reorganization. With the translation of Co Yby Ore Retama into Portuguese – This land is our place (Essa terra é nosso lugar) – we underline the opening of a space for all. May this place be ours, bigger in dreams and in size, but imbued with the same desire to always be close together.
Wild land (Terra braba) was the way the artist’s grandfather, a master builder from whom Zignnatto absorbed many teachings as an assistant and apprentice, used to refer to the metropolis of São Paulo, a city to this day full of contradictions and inequalities. “Wild” is also the one who, with wisdom, fights and resists, articulating one’s strength with affection and sensitivity.
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Andrey Guaianá Zignnatto
Xe Rapó, 2020
Impressão em pigmento sobre papel algodão
40 x 60 cm
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Andrey Guaianá Zignnatto
Sem título (Série Anomalias), 2018
Linha de algodão, impressão sobre papel
58 x 40 x 2 cm
Andrey Guaianá Zignnatto
Sem título (Série Anomalias), 2018
Linha de algodão, alfinete e impressão sobre papel
42 x 30 x 5 cm
Andrey Guaianá Zignnatto
Sem título (Série Anomalias), 2018
42 x 30 x 5 cm
Andrey Guaianá Zignnatto
Andara (Abraçado) 1 , 2021
Sementes de açaí, nylon, ferro, madeira, vidro
90 x 65 x 7 cm
Andrey Guaianá Zignnatto
Andara (Abraçado) 2, 2021
Sementes de açaí, nylon, ferro, madeira, vidro
90 x 65 x 7 cm
Andrey Guaianá Zignnatto
Andara (Abraçado) 3, 2021
Sementes de açaí, nylon, ferro, madeira, vidro
90 x 65 x 7 cm
Andrey Guaianá Zignnatto
Mestiçagem #12, 2021
Urucum com resina acrílica,cerâmica e barbante sobre papel de saco de cimento
390 x 180 x 5 cm
Andrey Guaianá Zignnatto
Sem título (Série Guilhotina ), 2017
Tijolo baiano cerâmico cortado e agrupado
137 x 52 x 20 cm
Andrey Guaianá Zignnatto
Guilhotina (Série estudos para uma nova proposta de interpretação do espaço físico), 2016
Tijolo baiano, elástico e parafuso
200 x 60 x 30 cm
Andrey Guaianá Zignnatto
Alicerce I, 2020
Cerâmica e concreto
44 x 23 x 20 cm
Andrey Guaianá Zignnatto
Terra sobre Terra 5, 2021
Cerâmica
29.70 x 21 cm
Andrey Guaianá Zignnatto
Sem título #7 (Série Empilhamento), 2018
Bloco cerâmico
60 x 60 x 20 cm
Andrey Guaianá Zignnatto
Sem título ( da série Manta ), 2017
Mini cobogó cerâmico, cimento, massa epoxi, madeira reciclada usada por pedreiros
80 x 55 x 55 cm
Terra Braba: Co Yby Ore Retama brings passages from the trajectory of this self-taught artist, ranging from his material experiences in stacking and melting bricks, subverting the rigidity of constructions, to the exploration of the fragility of space and the political and social tensions in various regions of the world, as well as deepening and redeeming his own identity as an artist and individual.
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Andrey Guaianá Zignnatto
Bandeira, 2019
Linogravura
65 x 100 cm
Of indigenous origin, descended from the Tupinaky’ia and Gûarini peoples and the grandson of a bricklayer, whose helper he was from the age of 10 to 14, as well as a social activist, Zignnatto incorporates his biography into his artistic work, uniting art and life and integrating history, memory and territory into the material and form of his work. Cement bags, bricks, mortar joints and fragments and leftovers from urban interventions become, in his hands, raw material for an artistic action that proposes to go beyond the process of imitation, recreating worlds, structures and systems, in an artistic proposal of radical invention.
+ moreBy paying tribute to aesthetic currents – from constructivism and minimalism to conceptual art – for example, the artist imbues them with the experience of being in the world, opening cracks and gaps, both concrete and imaginary, to establish new aesthetic developments that also signal ways of reconfiguring identity and society. If, in peripheral societies, “everything is always construction and also ruins”, as he says in one of his works, Zignnatto, with extensive international experience, does not hesitate to intervene, to propose, equalizing in his art forces from distinct and complex universes, such as the urban and the indigenous.
