Alvaro Seixas, Bruno Drolshagen, Daniel Lannes, Geraldo Marcolini, Gustavo Speridião, Juia Debasse, Mayla Goerisch, Pedro Meyer, Rafael Alonso. Rodrigo Martins e Tatiana Chaloub.
Artists: Alvaro Seixas, Bruno Drolshagen, Daniel Lannes, Geraldo Marcolini, Gustavo Speridião, Juia Debasse, Mayla Goerisch, Pedro Meyer, Rafael Alonso. Rodrigo Martins e Tatiana Chaloub.
Curator: Fernanda Lopes
Dates: 03 of June to 02 of June 2017
Caution. You may not find here – in this exhibition or in this text – what you expect. Smile! is a collective exhibition, bringing together artists who work with painting in Rio de Janeiro. Alvaro Seixas, Bruno Drolshagen, Daniel Lannes, Geraldo Marcolini, Gustavo Speridião, Juia Debasse, Mayla Goerisch, Pedro Meyer, Rafael Alonso. Rodrigo Martins and Tatiana Chaloub present here some of their most recent productions, many still unveiled, in a panorama of different ways and possibilities about the thought and practice of painting and the construction of the image. In common, these 11 artists provoke with their works a certain sensation of discomfort. And, accompanied by her, a yellow smile, showing that what you see is different from what you imagined.
Already in its earliest beginning, speaking of art history meant speaking the truth in the history of painting. For centuries, the two-dimensional space was the place of the great discussions of art; the canvas was the arena of the great struggles of art. It was on the canvas that the conventions of what art was were first built – related to beautiful themes, to beautiful forms, to beautiful colors, to beautiful execution – and it was there that these conventions began to be deconstructed, opening the way to other possibilities of art.
A few decades ago, however, this surface started to be questioned, amid other possibilities of constructing and dealing with images, considering it as academic, conservative, traditional, limited, insufficient. Perhaps this is not a problem restricted to what happens inside the picture plane. Perhaps this is a discussion that should gain broader margins, including what happens outside the picture, still with the blank screen (taking into account the artist’s posture), and then, when it gains the public space of an exhibition (taking into account the public’s stance).
The works assembled in this exhibition deal with these issues in paintings (with works that also include the redefinition of the traditional limits of the support itself), objects and video. These are works that deal with leftovers, pieces, patches, discomforts, defects, frustrations, conventions, remains, failures, displacements, versions, inadequacies. Not only in the image, but also in the procedures of construction. There are chapters of our history here in non-official versions; rules of conduct and conventions put forward, which prove to be unsuccessful or insufficient; precarious materials and procedures, discarded. Nothing is comfortable or conformed, reminding us that smiling can be a sign of contentment, but also discomfort, irony, contempt.
We smile when something pleases us, when we feel comfortable, but also when we do not understand, we do not like or we do not find any humor. We smile ironically, when we do not know what to say (or know, but we cannot), or to obey conventions. We smile when we recognize ourselves, but we should not say. We smile when we feel uncomfortable. We smile when we do not want to compromise. We smile for politeness. We smile for convenience or when we do not want to start a discussion.
Smile! This is a painting exhibition.