...ainda assim, flutuante caiçara...

apr . 27 . 2012  -  may . 22 . 2012 , Galeria Millan
opening apr . 26 . 2012, 08pm - 11pm
mon - fri, 10am - 7pm, sat, 11am - 5 pm
  • Rb_5041_200x300_2012_edouard_fraipont
  • Rb_5040_200x250_2012_edouard_fraipont
  • Rb_4608_70x90_2011_edouard_fraipont
  • Rb_4626_70x50_2011_edouard_fraipont
  • Rb_4937_250x200_2012_edouard_fraipont
  • Rb_4938_230x200_2012_edouard_fraipont
  • Rb_4941_200x250_2012_edouard_fraipont

When titling his solo exhibition at Galeria Millan, painter Rodrigo Bivar turned to ukiyo-e, a Japanese woodcut method which, translated literally, means “portraits of a floating world.” Due to the thematic relationship with Japanese images, the show, composed of eight oil on canvas paintings, was christened ...ainda assim, flutuante caiçara... (...all the same, coastal floating...).

While before Rodrigo Bivar's paintings awakened a curious estrangement and were evocative of fiction, now they bring to mind a sensation of familiarity – whether through the scenes represented, or their relation to art history. In the new paintings, the artist has frozen ordinary instances in an unstable world. They are random moments of any given day, having in common only the locale in which they take place (the beaches of Ubatuba, on the northern coast of São Paulo state). 

The vision of the traveling artist is present all throughout the exhibition, especially in the painting Untitled (Marc Ferrez), in which Bivar paints one of the landscapes of the photographer who most contributed to the documentation of Brazil in the 19th century. The work acts as a guide and practically assumes the role of curatorial text for the exhibit, whose scenes and landscapes allow the forever interested vision of the artist, who still carries that curiosity that habit tends to blind, to shine through.

When observing the set of paintings in the exhibition, the common bond between the works-- the landscape-- becomes the protagonist. In the scenes portrayed, the human figure appears in harmony with the environment, and his behavior-- handling kindling, analyzing a map – is conditioned by it. Each work represents a whole, in which an element refers to that which is beside it, with no hierarchical differentiation between planes. For its part, each painting relates to the others, also in an order of equal importance.  Thus, ...ainda assim, flutuante caiçara... presents itself as a perfect Pascalian system, in which it is impossible to recognize the parts without recognizing the whole, and impossible to recognize the whole without recognizing each of its parts.

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