Piauí Project

Alexandre Canonico, Bruno Dunley, Isabel Diegues, Luis Barbieri, Marina Rheingntz, Mauro Restiffe e Paloma Bosquê

Piauí Project

Artists: Alexandre Canonico, Bruno Dunley, Isabel Diegues, Luis Barbieri, Marina Rheingntz,
Mauro Restiffe e Paloma Bosquê

Curator: Isabel Diegues

Dates: 27 de novembro 2016 a 22 de janeiro 2017

Local: Jacarandá

Exhibit

Piauí Project

In 2014, a group of artists began planning an immersion trip. Guided by the will to make an expedition of observation to the interior of Brazil, they chose the Piauí, unknown for all of them. Beyond the rocky representations of the mountains of Capivara and Confusões, crossing the Sertão do Piauí (Piauí desert) was the idea that seduced the group, which left from the interior of the state until they reached the sea, in the Parnaíba Delta, in a journey of twelve days, in June, 2015. The journey’s crossings and the experience of conviviality were intense, and from this experience the artists emphasize the silence of the inhospitable region, the observation of the sky, the richness of the vegetation of the caatinga, the light of the desert, the flat immensities, the rock formations, the arid nature that once was abundant of rivers, in addition to the extended time that the rock paintings show.

In this situation of suspension, artists experienced the opposition between nature and culture in a context and geography totally different from their realities. The unfolding and impressions of this experiment were then shared with the public in the Piauí Project exhibition, held in the Pivô space in São Paulo, between May 14 and July 2, 2016. In the show, each artist transmits in his own way the traces that this journey left in their personal practices. Some works were done during the trip, using or not the materials found in the course, and others made already back in their environments. And the experience of both the crossing of the Brazilian deserts and the research of rock paintings takes different paths, such as photographs, sculptures, drawings, paintings, text and audio.

These translated impressions of the trip are the result of the de-automated gaze of each traveler and the works presented are the result of the disposition they had for the encounter, before any discursive pretension. Thus, the exhibition divides with the visitors this exercise of conviviality, displacement and contemplation to which this group underwent, not only during the trip, or in its preparation, but also in the conception and assembly of the public presentation of the process.

In bringing the exhibition to Rio de Janeiro, to the Jacaranda space, the group proposes to expand the experience of the trip to other territories, updating various aspects of the project, thus stimulating possible new trips through so many other routes in Brazil.