Amalia Giacominii, Ana Holck, André Komatsu, Brígida Baltar, Carlos Vergara, Daniel Senise, Fabio Cardoso, Geraldo de Barros, Jose Bechara, Lucia Koch, Luiz Zerbini, Nicolás Robbio, Paulo Climachauska,Rafael Alonso e Raul Mourão.
Artists: Amalia Giacominii, Ana Holck, André Komatsu, Brígida Baltar, Carlos Vergara, Daniel Senise, Fabio Cardoso, Geraldo de Barros, Jose Bechara, Lucia Koch, Luiz Zerbini, Nicolás Robbio, Paulo Climachauska,Rafael Alonso e Raul Mourão.
Curator: Felipe Scovino
Dates: 9 of September – 24 of September, 2017
The grid system during the post-war era created an idea or conviction that works could expand infinitely in space, which marked the first step towards neutralizing the value of any particular space. What combines the works in this exhibition, besides the grid layout, is the idea of a landscape. An invented landscape or the appearance of a place, which somehow, through an abstract and economic construction of elements, makes it clear that the landscape is no longer connected with an object of the natural world, but with the investigation of one’s circumstances which are mobilizing this transformation of the landscape. For critic Dan Cameron, “the grid slowly developed from a device used in creating an illusion of space to a system imposed upon space itself.” The grid declared the modernity of art by helping it to gain its autonomy and “in part” to turn its back on nature.
In this show we are faced with different situations regarding the appearance of the grid as a proposer of landscapes. For example, an incessant dialogue between art and architecture, or even the formation of a territory / space through design, such as the works of Lucia Koch and Raul Mourão. Through minimal gestures, artists enable the emptiness to take shape and establish itself as visibility and territory. Mourão brings the rawness, the dirt, and the lively and arid atmosphere of the streets, while Koch dialogues with the Moorish traditions and the legacy that the muxarabi brought to contemporaneity. The voids of the structures operate as a translucent body, or a grid that open or fluctuate conforming to the interactions and landscapes that cross it. It is also worth noting that the crudeness of Raul’s work aligns with the grid projected on Komatsu’s wall. Projected over this rough, crooked, unfinished trail there is the rebar, the trace, the component that evoke a construction site. The work is done in this process of never completing, closing, readying. The strength of the city brings dynamics to this work. The grid sketched on the wall reveals its design and architectural character, two elements that corroborate towards Komatsu’s work. Contrarily, the backlights of Ana Holck bring an affective memory to the artist. They reveal a construction site of another kind of order and consequence. The lines that construct the grid intertwine with an image that belongs to its own history. The grid is a reference to everything that goes back to construction, architecture, geometry. These are aspects that are widely investigated by the artist.
Já Amalia Giacomini, ao delimitar áreas partindo de um gesto de sobrepor linhas, cria uma relação de figura e fundo, e no limite entre linha e materialidade, o grid é exposto em um intervalo ambíguo que manifesta aparência e dissolução. É como se a falta ou vazio fossem camadas ou linhas orgânicas que completassem o próprio método de execução da obra. Pelo viés da delicadeza, temos as obras feitas com pó de tijolo de Brígida Baltar. Eis o muro em formato de uma trama e o cobogó. A força deles está na própria fragilidade do material, em um estado que oscila perfeitamente equilíbrio e ordem, de um lado, e instabilidade e organicidade, por outro. São arquiteturas que exploram a memória e a afetividade de um espaço da cidade. Numa foto pertencente à série Fotoformas (c. 1951), Geraldo de Barros articula diversas visadas e perspectivas do teto da Estação da Luz, em São Paulo, construindo uma montagem autoral e óptica. Nesse emaranhado de estruturas metálicas e vidro que a foto revela, o grid se faz presente como uma estrutura ilusória, capaz de provocar uma geração de novas e sucessivas dinâmicas.
Whilst Amalia Giacomini, in delimiting areas by overlapping lines, a relation between figure and background is created, and in the encounter of line with materiality, the grid is exposed in the ambiguous interval that manifests appearance and dissolution. It is as if the void or emptiness were layers or organic lines that completed the own method of execution of the work. With a similar approach to delicacy, we have the works made with brick powder by Brígida Baltar. Here is a wall composed from lattices. Their strength lies in the very fragility of the material, in a state that oscillates perfectly between balance and order, on the one hand, and instability and organicity, on the other. These are architectural structures that explore the memory and the affectivity of the space of a city. In a photo from to the series Fotoformas (c.1951), Geraldo de Barros conveys distinct visions and perspectives of the ceiling of the Estação da Luz, in São Paulo, constructing an authorial and optical assemblage of images. In this entanglement of metallic structures and glass that the photo reveals, the grid becomes present as an illusory structure, capable of provoking a generation of new and successive dynamics.
The dirty, erratic grids, deviations from a poorly made and torn op painting are present in the works of Rafael Alonso. Umgrid crooked and laughing at his own faltering condition. In Fabio Cardoso, his canvases highlight two categories of art: the grid itself and the monochrome. The transparency with which he builds the light in his paintings casts doubt on the “purity” of these categories. It is not an opaque painting, on the contrary, because it wants to be undressed, to reveal its different layers and at that moment the grid enters as a proposing element. Zerbini’s work, on the face of it, explores the rigor of forms and lines, inheritance of the constructive tradition in Brazilian art, but we are led by an unformal narrative that encourages optical games, explores the subtle shades of shadows and changes the format “Perfect” grid: what interests you is an indiscipline of this plan. The grid is also made as a design projected on the wall. In the work of Nicolás Robbio, drawing gains space and virtuality at the same time. It belongs to a space-between and is made as a jagged landscape that refer to the grid, but especially the window or brise-soleil. It is the immanence of an architecture that walks through different times, references and purposes.
In the letters / paintings of Climachauska the numbers and suits are suspended and what remains is the bottom in grid. What was once literally in the background, now stands as the protagonist. The dynamics of these grids go back to constructivism and concrete art. However, this way of presenting it induces more to an optical dispersion than the rigidity of the concrete lines. If on the one hand, the artist subtracts images from the referent of that work (the deck), on the other hand it creates an imaginary without size for the spectator / player.
To constitute a landscape not as a mimetic reproduction of nature, but with nature or with the action of time. These seem to be the guiding threads of the works of Carlos Vergara and José Bechara. As a process that goes back to the monotypes, the works, through the “impression” of nature, in the case of Vergara, and the slow and acid action of the chemistry of the materials employed, in the case of Bechara, offer us territories. In addition, the fact that they are close to those of Daniel Senise, who clearly refers to two artists – Picasso and Cézanne – who had nature as a means of investigation, and that of a drawing in the series Mascaras, by Vergara, condition a romantic aura: all these works invest in a fragment, a piece of landscape in which the whole can be, and that this can not be disqualified by an inhibiting rationality, but captured by the instant of production of the work. Already in Vergara’s screen with motives in losangos, of 1983, the referent are the bars that separated the public of the parade during the festivities of the Carnival. Exit the figurative aspects and what remains is the grid as a suggestion of a space that promotes encounters and the complexion of a playful atmosphere.
In the field of art, as Anne Cauquelin says, “the artificial and the real, the invented and the concrete, the truth and the lie, the original and the copy no longer divide according to a serene dichotomy, but maintain fluid relationships”, opening the way to a thought of the probable. The works of this exhibition reveal to us that reality is no longer exactly the same: it is duplicated, confronted, and reinforced by fiction.