Lais Myrrha participates in the exhibition with two pages from the 22 of the work Dicionário do Impossível and with the video and drawing Compensação dos erros.
Photos of the work Dicionário do impossível (vol. IX), 2005 - installation: 22 marble slabs (42 cm x 30 cm each) recorded through sandblasting. Photo: Eugênio Sávio.
Photo of the work Compensação dos Erros, 2007: video and drawing. 60' (one hour). Photo: Edouard Fraipont (image from the catalogue "Um outro lugar", Museu de Arte Moderna de São Paulo, 2011).
Curated by Paulo Herkenhoff, Ponto Cego, a solo exhibition by Miguel Rio Branco at Santander Cultural (Porto Alegre, Brazil) presents 110 works that show the artist's extensive photographic and filmic production.
Anna Maria Maiolino entitled the piece which she presented at the current dOCUMENTA 13 “Here & There”: two adverbs that merely point the public to her installation which occupies various spaces of a house together with its garden. The title doesn't offer any a priori interpretations that could potentially contaminate the direct experience of the public's contact with the work.
For her solo exhibition at Galeria Millan, she chose the title É O QUE É [“IT IS WHAT IS”]. Once again, the artist simply points out the pieces. The exhibition is comprised of works created from different media and techniques: sculptures moulded out of plaster for the series Entre o dentro e o fora [“Between the inside and outside”], wall objects moulded out of cement for the series Novos ausentes [“New absences”], pieces created out of Raku ceramics, drawings, photos and videos.
In a poetic memorial about the exhibit, the artist affirms: “This exhibition brings works from 2005 to 2012 which use a variety of media/techniques. The title É O QUE É (IT IS WHAT IT IS) simply refers to the works without clarifying what they are, thus emphasizing the poetic features. É O QUE É underlines the possibility of establishing the real from ideas in the use of a body of senses networked in diverse techniques. The works propose metaphors grounded on experience, acquiring essence and meanings. The word technique originates from the Greek verb 'tíkto' which, in its broadest definition, means ‘to bring to the world.’ Thus, it is in experience that the artist emphasizes the audacity of living.”
Coinciding with the vernissage is the release of the the booklet “Eu sou eu,” the print version of the poem that is part of the artist's installation at dOCUMENTA 13.
Lenora de Barros participates in the project Ocupação Pompeia with three videos, presented in SESC Pompeia main street: Só por es-tar (2009), Tato do Olho (2005) and Já vi Tudo (2005).
Emmanuel Nassar presents two works in the show From the Margin to the Edge - Brazilian art and design in the 21st century. The exhibition features works created over the last decade by a selection of Brazilian artists and designers. Bringing together over thirty practitioners – some internationally established; others relatively unknown – the exhibition aims to provide a cross-section of contemporary visual culture in Brazil.
More information: http://www.somersethouse.org.uk/visual-arts/from-the-margin-to-the-edge
In a 2009 interview, Henrique Oliveira placed his work in between the categories of painting, architecture and sculpture and stated that his purpose was always to “create tension in the space.” This search for the limits of space and, through its exploration, to provoke the spatial perception of the public (perhaps even upset it, being that it propels visitors' entire bodies outside their comfort zone) reaches a new level in the exhibition Realidade Líquida [“Fluid Reality”], presented at Galeria Millan from July 19th on.
Henrique fills the exhibition space of the gallery with emptiness. The walls, the ceiling and the floor are the same as always, but completely deformed by an interference by the artist: the planes, softened, converge in a perspective that's almost hallucinatory. If, on the one hand, there's nothing to see, the rupture with the sensation of familiarity of the space is an invitation to a shift in spatial perception: there are no works in the canonical sense of the word, but there is a strong presence in the space, as there were something behind the walls, ready to tear them or like the result of an inexplicable phenomenon of strange results.
The second floor of the gallery contains the sculpture Condensação [“Condensation”], composed of a block of eleven mattresses juxtaposed in a vertical position. The interior of this block is hollowed out, its stuffing removed and shaped into a cloud form which floats inside the cavity. In addition to alluding to the physical phenomenon of condensation of water vapor inside rain clouds, the title of this work also refers to a term used by Sigmund Freud (The Interpretation of Dreams) to describe a psychic process common in his patients' dream narratives – a process through which a single image seems charged with a plurality of simultaneous meanings.
Galeria Millan participates Art 43 Basel. The gallery will be on hall 2.1, stand P8, with works by Artur Barrio, Anna Maria Maiolino, Emmanuel Nassar, Henrique Oliveira, Miguel Rio Branco, Mira Schendel, Paulo Pasta, Rodrigo Andrade, Tatiana Blass, Thiago Rocha Pitta e Tunga.
Anna Maria Maiolino participates of dOCUMENTA, one of the most relevant contemporary art shows in the world, that happens every five years in Kassel (Germany). For the exhibition, she created an installation titled Here & There, which occupies a small house in Karlsaue Park and the park that surrounds it.
dOCUMENTA official website: http://d13.documenta.de/
In his second solo exhibition at Galeria Millan, titled O fim da metade é o começo do meio [“The end of the half is the beginning of the middle”], Paulo Pasta presents eight large-scale oil canvases, all of which were painted between 2011 and 2012, and six small paintings, also oil on canvas. Along with the vernissage, the evening of May 31st is also the release of the book Educação pela pintura, written by the artist and published by Editora WMF Martins Fontes. The book collects all the painter's writings on art and features a preface written by journalist Antonio Gonçalves Filho.
With O fim da metade é o começo do meio, visitors can observe an overlap with the exhibition Sobrevisíveis, the artist's solo show which was held at Centro Universitário Maria Antonia in 2011. The works that comprise the current exhibition were motivated to a certain extent by a subject also present in last year's exhibit: an exploration of the indetermination of space as the central theme of his paintings, made possible mainly due to the combination of areas of colors that inscribe themselves inside one another without making clear which is being surrounded and which is doing the surrounding.
Six paintings occupy Galeria Millan's ground-floor exhibition space, while two others fill the mezzanine on their own. Both possess the same dimensions (240 x 300 cm) and the same structural format; the difference between them is created by the colors that fill them: one composed of effusive, daytime luminosity; the other, by introspective, noctural colors.
The canvases on display give us access to matters that are decisive in the painter's work, such as the manner in which structure-- objective and determined-- is indetermined by color, an element whose character walks a tight-rope. The designs of internal spaces which the painter starts with (crosses, beams and girders) are filled in by blocks of colors in a potent but silent clash between rupture and continuity, a permanent production of the moment.