Ivan Grilo. Tomorrow, at first light at Casa Triângulo, SÃO PAULO

Ivan Grilo. Tomorrow, at first light at Casa Triângulo, SÃO PAULO

Ivan Grilo, Tomorrow, at first light
curated by Tiago de Abreu Pinto
Casa Triângulo, SÃO PAULO
01.06.2019 – 20.07.2019

Casa Triângulo presents Tomorrow, at first light, Ivan Grilo’s second solo exhibition at the gallery. The exhibition presents a new set of works that lies in the ambiguity between the intimacy and the politics. Or, as curator Tiago de Abreu Pinto says, “Are we talking about politics or love? Of something that connects these two things.” Ivan brings a fanciful narrative of a collapsing king who, through a self-criticism of the artist’s performance as an ethnographer, constructs objects and installations spinning over the current crisis of empathy (which gives rise to the democratic crisis). “The artist was never a friend of the king,” says Grilo from a newspaper clipping that he brings with him. Part of the work was conceived during the artist’s residency in New York, at AnnexB Art Residency, so they treat the displacement and understanding of migration as part of the research. “It implies a continuous act of listening,” he says.

Ivan Grilo [1986, Itatiba, Brazil. Lives and works in Itatiba, Brazil] has a core research that aims the relevance of historical and oral archives, alongside the different possibilities of reading about the same fact. Taking photography as a form of documen- tation and recording time, the artist seeks to dissect the representative, political, narrative, conceptual and aesthetic roles of the image, sometimes questioning or even rewriting the original material, blurring the memory and the action of time. Solo exhibitions: Escribe una carta de amor, Mana Contemporary + The55project, Miami, 2018; Preciso te contar sobre ama- nhã, Galeria Luciana Caravello, Rio de Janeiro, 2016; Eu quero ver, Casa Triângulo, São Paulo, 2015; Quando cai o céu, Centro Cultural São Paulo, 2014; Ninguém, Paço das Artes, São Paulo, 2011; Projeto Cofre with Estudo para medir forças, Casa França-Brasil, Rio de Janeiro, 2015. Group exhibitions: Quem não luta tá morto – Arte, Democracia e Utopia, curated by Moacir dos Anjos at Museu de Arte do Rio; Il coltello nella carne, curated by Jacopo Crivelli Visconti and Diego Sileo at PAC – Padiglione d’arte contemporanea di Milano in 2018; travelling exhibitions from Marcantonio Vilaça Prize, curated by Josué Mattos: Verzuim Braziel (states of Rio de Janeiro, Ceará and Goiás, Brazil); Lugares do Delírio, SESC Pompéia, curated by Tania Rivera. In 2017 took part of 2 exhibitions at BIENALSUR – Bienal Internacional de Arte Contemporânea da América do Sul and in 2016 participated ofAvenida Paulista, curated by Adriano Pedrosa and Tomás Toledo, MASP – Museu de Arte de São Paulo; A cor do Brasil, curated by Paulo Herkenhoff and Marcelo Campos, Museu de Arte do Rio. In 2015 was invited by Pablo Leon de la Barra for Tempos Difíceis, Casa França-Brasil and in 2012 was part of the 2nd Ural Biennial of Contemporary Art, curated by Raphael Fonseca, Russia. He was awarded in 2012 the XII Funarte Marc Ferrez Photography Prize, in 2013 the PROAC Visual Arts – Government of the State of São Paulo, in 2015 the illy SustainArt Award – SP-Arte, in 2016 the Bradesco ArtRio Focus Award, and in 2017 the Prize Fundação Marcos Amaro – SP-Arte, as well as nominations for the PIPA – Investidor Art Profissional Award. In recent years he has participated in residency programs at New York (AnnexB), Maranhão (Chão São Luís), Portugal (Triangle Network) and Italy (Humus Interdisciplinary Residence). Public collections include: Solomon R. Guggenheim Museum New York, Pérez Art Museum, Fundación ARCO, Museu de Arte de São Paulo Assis Chateaubriand, Itaú Cultural, Museu de Arte Moderna de São Paulo, Museu de Arte do Rio de Janeiro, Museu de Arte Moderna do Rio de Janeiro – Col. Gilberto Chateaubriand, Fundação Bienal de Cerveira e Museo de la Universidad de Tres de Febrero.

All images > IVAN GRILO . TOMORROW, AT FIRST LIGHT . PHOTO: FILIPE BERNDT

Marcelo Silveira, compact world of things at Galeria Nara Roesler, São Paulo

Marcelo Silveira, compact world of things at Galeria Nara Roesler, São Paulo

Marcelo Silveira, compact world of things
Galeria Nara Roesler, São Paulo
until 03.08.2019

Galeria Nara Roesler | São Paulo inaugurates a new exhibition by Marcelo Silveira on June 8th. Curated by Daniel Rangel, Compacto mundo das coisas [compact world of things] presents five series of works, united by aesthetic, conceptual and procedural affinities. The artist appropriates the “world of things” to make drawings, sculptures and installations through postcards, pieces of chairs, plastic objects and books. With a watchful eye, Marcelo Silveira searches for most of the raw material of his works in the city of Recife, choosing objects that, according to the curator of the show “gradually abandon the useless rest of the discard they suffered and start provoking the artist”.

Marcelo Silveira Acumaé, 2016/2017 freijó wood and vegetal paper 17.3 x 16.1 x 6.3 in

Post Cards

Centenary postcards found by the artist in a thrift store originate the series Irene, a name that refers not only to a Caetano Veloso song with the same name, but also to the recipient of the postcards, that received them in three addresses in Recife, between 1910 and 1920: at streets Rua da Alegria, Rua da Glória and Rua do Aragão. These addresses today, according to the artist, “are streets that the city forgot”. And it is through the questioning of how to give relevance to the memory of these places that the artist develops the series, intervening with ballpoint pen on the postcards or with stamps over their verses. Together, in a kind of frame, the postcards create fictitious landscapes or resemble an architectural coating.

Compacts with pacts

Made of pieces of chairs, the series Compacto com pacto [Compact with pact]is intended to make the visitor identify the possibilities of the object in space and the spatial dispute between the piece and who moves around it. What used to be a chair now returns to space occupying it with a graphical movement – lines that intertwine, converse and interrupt themselves. According to the artist, the series speaks of the need to establish pacts. “What motivated me in the creation of this work was the pact, the possibility of establishing dialogues and building something that is not done alone,” explains Marcelo.

Camaleão [Chameleon]

The Camaleão [Chameleon] installation is a work composed of pieces of colored paper – more precisely, the packaging of the rulers used by the artist in the production of the series Caleidoscópio [Kaleidoscope]. Together, the cutouts resemble a painting when a projection of light strikes it. The stability of the ‘painting’ is broken when one color of light projects over a surface in a different color, turning it into another color. The work allows us to reflect on the illusion one has about things and beings – and their impermanence.

Artist’s books

The exhibition also includes works from the series O Desenho da Casa [The Drawing of the House], Modernas [Modern ones] e Muito pelo contrario [Quite on the Contrary], in which the artist, in an approaching operation, intervenes with simple drawings directly on the pages of books donated by Casa do Desenho, in Porto Alegre, after its closure. “The viewer’s imagination is activated by visible titles and names, some known, some not. Most groups consist of small collections of related books or encyclopedias and dictionaries. The investigative procedure and the act of collecting are recurrent in the artist’s production”, adds Daniel Rangel.

Acumaé

Acumaé, according to the artist, is a simple and regional expression to ask the price of things. It also gives name to the series of sound objects made out of wood that were designed by the artist to establish seams and create a larger project that goes beyond the piece of wood itself. During the opening, the artist and the curator of the show, Daniel Rangel, will promote a kind of procession through the gallery, packed by the fusion of sounds of different intensities, generated by beats with hands on the sound objects and the singing chanted by the participants of the courtship. With a diversity of techniques and dynamics, Marcelo Silveira invites the public to enter this space which gives new meaning to time and things and, in the words of the curator, “offers us his sensitivity as a key to question our relationship with objects and people who surround us.”

All images > marcelo silveira: compacto com pacto – vista da exposição – galeria nara roesler | são paulo, 2019 – foto © Erika Mayumi – cortesia do artista e galeria nara roesler


PUBLICATION LISTED IN THE ITALIAN PRESS REGISTER BY THE SASSARI COURT OF LAW WITH REGISTRATION NUMBER 447/2017.
EDITOR IN CHIEF: ALICE ZUCCA

LATEST ARTICLE



LATEST INSTAGRAM POST @XIBTMAG
CHECK ALL THE
AND DON’T FORGET TO FOLLOW US ON SOCIAL MEDIA

SO YOU WILL BE ALWAYS UP TO DATE WITH OUR LATEST NEWS

Privacy Settings
We use cookies to enhance your experience while using our website. If you are using our Services via a browser you can restrict, block or remove cookies through your web browser settings. We also use content and scripts from third parties that may use tracking technologies. You can selectively provide your consent below to allow such third party embeds. For complete information about the cookies we use, data we collect and how we process them, please check our Privacy Policy
Youtube
Consent to display content from Youtube
Vimeo
Consent to display content from Vimeo
Google Maps
Consent to display content from Google
X