Dudi Maia Rosa | Fernando Lemos

may . 17 . 2016  -  jun . 11 . 2016 , Galeria Millan e Anexo Millan
opening may . 14 . 2016, 12pm - 04pm
Tue - Fri, 10am - 7pm; Sat, 11am - 6pm
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The exhibition Someone dreaming far from here, by Fernando Lemos [between May 14 and June 11, at Anexo Millan], is based on three collections of works. The first, a selection of 21 of the photographs taken between 1949 and 1952, when while in Lisbon, Lemos was connected with the Portuguese Surrealist movement and experimented with different photographic options (including multiple film exposure) to create visually intriguing scenes that were sometimes absurd, sometimes mysterious. The second is a group of 20 new works created between 2015 and 2016: drawings in black and white, enlarged photographically on screens of 1m x 1m, examples of what the artist calls “digital painting”, and which could also be seen as “drawn photographs”, as argued by the curator in the article written for the public. Weaving together and connecting these two collections that are so different, both in the chronological and material sense, the third one presents more than 30 drawings done during the 65 years of Fernando Lemos’ career; they are outlines, sketches, diverse rhythms and shapes, linked together with the other collections exhibited as if in a musical score of composite images, atmospheres and gestures that wander between the graphic and the photographic. 
The vast and manifold career established by Fernando Lemos in Brazil following his arrival from Portugal bearing the lights of photography and the shadows of Surrealism, has been seen as a series of initiatives that have framed a journey dedicated to experimentation with media and investigation into the unconscious imagination. The exhibition Someone dreaming far from here seeks to explore the hybrid nature of the fascinating series recently concluded by the artist to launch a cross-sectional view of his work, with an emphasis on inter-penetration of ways of thinking in his different moments. In the first instance, from proximity with the photographs, drawings and “drawn photographs” it is clear that there is a common thread of graphic dexterity in Lemos’ work: the definition of shapes by a contrasted relationship of light and shadow working in synchrony, one obliterating the other and the latter opening interstices in the former. Secondly, the relationship between the works allows the quality of the artist’s drawing to be recognized; it is his foremost and most fortunate activity throughout all his decades of work, an action that is implicit in the constructed nature of his photographs and thereby the foundation block of his painting, the syntax of his graphic design and the partner to his poetry.


Emmanuel Nassar | Henrique Oliveira

apr . 02 . 2016  -  apr . 30 . 2016 , Galeria Millan e Anexo Millan
opening mar . 31 . 2016, 07pm - 10pm
Tue - Fri, 10am - 7pm; Sat, 11am - 6pm
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Galeria Millan simultaneously opens two new solo shows on March 31, by artists Emmanuel Nassar (Galeria Millan) and Henrique Oliveira (Anexo Millan).

On his new solo show at Galeria Millan, the artist Emmanuel Nassar creates a sort of game in which he mixes works from different phases and media to reinforce some of the questions that have motivated his investigations for decades. Deeply sardonical and averse to his work being classified by criteria such as date, technique or even authorship, this northern Brazilian artist – currently living partly in São Paulo and partly in Belém do Pará – decided to transform the gallery’s largest wall into a framework for a large, rhythmical collage comprising various elements. This is a clear reference to the artist’s work process, which absorbs, recreates and reconstructs items from his day-to-day life using different techniques and styles of composition. Emmanuel Nassar will also present paintings and a sculpture on the first floor of Galeria Millan.

The artist Henrique Oliveira uses the recently opened Anexo Millan to present a pot-pourri of his most recent creations and to show the public the new developments emerging from his studies. Ten years after his first solo exhibition, Henrique still shows great versatility, exploring different techniques and paths while also working on painting, sculpture and installation, with enormous national and international success. However, his more recent works contain subtle but striking changes, resulting in more harmony between the various paths the artist has forged. Rather than belonging to two completely different fields, the two-dimensional and three-dimensional languages are clearly drawing closer to each other and there is more integration between these universes. His more recent paintings, for example, seem to be making overtures to the earth and pink tones that dominate his famous installations, made with the remains of construction hoardings.

iTa Lítica Barroca

feb . 26 . 2016  -  mar . 19 . 2016 , Galeria Millan
opening feb . 25 . 2016, 07pm - 10pm
Tue - Fri, 10am - 7pm; Sat, 11am - 6pm
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Galeria Millan's collection at Anexo Millan

jan . 12 . 2016  -  mar . 15 . 2016 , Anexo Millan

Tue - Fri, 10am - 7pm; Sat, 11am - 6pm
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Galeria Millan at Art Basel Miami Beach 2015 | BOOTH C16

dec . 03 . 2015  -  dec . 06 . 2015
opening dec . 02 . 2015, 11am - 07pm
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Há um fora dentro da gente e fora da gente um dentro

nov . 13 . 2015  -  dec . 19 . 2015 , Galeria Millan e Anexo Millan
opening nov . 12 . 2015, 07pm - 11pm
Tue–Fri: 10 a.m. – 7 p.m.; Sat: 11 a.m. – 6 p.m.
  • Testesite
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From November 12, Galeria Millan presents a new solo show of the artist Paulo Pasta. Entitled: There is an outside inside us and outside us an inside, a verse of Francisco Alvim’s poem. The show marks the opening of the new gallery’s space: Anexo Millan. The exhibition simultaneously occupies both of Millan’s addresses. In the gallery’s traditional space, the abstract paintings will be exhibited, marked by an intense, ambiguous color and refined atmosphere geometric structure, which are responsible for their unquestionable role in Brazilian contemporary painting. But, together with the abstract paintings, you can see one of the landscapes recently produced by the artist, the surroundings of his hometown, Ariranha, are the starting point of the production. In Anexo Millan, situated a few meters away from the gallery, the same friction process will attend the exhibition. Dedicated to the landscapes, the new space will also house an enormous painting made directly on the wall. At the opening, the book Landscape Fable will be released with 28 landscape paintings of the artist. The exhibition runs until the 19th of December. 

José Resende

aug . 22 . 2015  -  sep . 26 . 2015 , Galeria Millan
opening aug . 22 . 2015, 12pm - 04pm
Tue–Fri: 10 a.m. – 7 p.m.; Sat: 11 a.m. – 6 p.m.
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    Dobras, 2015 Steel (sac 50) 210 x 210 cm
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    Corpo de prova II, 2015 stainless steel and steel wire 300 x 665 x 90 cm
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    Upside down, 2015 brass tube with steel cable 600 x 200 x 100 cm
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    Dobras, 2015 Steel (sac 50) dimensions variable

The solo exhibition by José Resende at Galeria Millan can be understood as a development of the exhibition held at the Pinacoteca do Estado de São Paulo, between April and June 2015. It would even be fair to say that the exhibition is flows through space and time.

At Millan, the exhibition is also composed of only recent and previously not seen sculptures. But it is a mistake to think of it only as a new stage in José Resende's work - composed of projects and innovative solutions. Because the path tread in the 50 years of the artist's production is of "eternal return"; a reflected, surprising continuum. The humor, tension, opposing directions, the latent movement and its insertion in the public space have always been and are present in his work.

It is undeniable that José Resende's sculptures explore the relationships between the city and the body. Whether by choice of materials — metal plates and pipes, stones, glass, textiles - or through the direct conversation of his work — vertical, horizontal, diagonal and curved — with the surroundings. Guided by a rigorous, flexible thinking and a playful imagination, the artist, through his sculptures, invites the audience into another perspective of the urban landscape, the corporeality and the world’s mobility.

In fact, the idea of the inaccuracy of movement is something that unifies the works of Resende exhibited at Galeria Millan. The sculpture Dobras (2015) is made by interlocking two steel plates: one of which is circular, folded in half, with two slits in "v" and the other which is half-moon shape. The density and strength of the plates inspire permanence; an apparent stability. That soon falls apart when you realize that there is a multiplicity of sculptural possibilities within the same sculpture - just change the fitting of the “v” plate. It is the idea of an open work that lies its movement, its constant tension.

It is also worth mentioning that at the Pinacoteca, Dobras (2015) was displayed as a pair of identical sculptures, whereas at Galeria Millan, the piece has been dismembered and it appears as a set of sculptures in various dimensions.

The never before seen piece Corpo de Prova II (2015) embodies another type of movement. The title already alludes to what is at stake in the sculpture. Are the calculation and the precision of this creation sufficient to control the unpredictability of imagination and of the suggestive character of the flexible form? On one side, two brushed stainless steel pipes measuring 4 meters, on the other, two polished stainless steel tubes at an angle also measuring 4 meters, and both sets are connected by a steel cable. Corpo de Prova II (2015) refers to previous methods — such as the train cars suspended by steel cables and even in some sculptures dating back to the 1970s — but presents new solutions: a pre-established and powerful balance.

In the lobby of the gallery, the never before seen work Upside Down (2015) — consisting of brass tubes connected by steel cables — produces an impact for its monumentality, for its humor and for its challenge to gravity. Even despite the lightness and the aerial quality of the work which, incidentally, seems to create a virtual volume that moves toward the observer's body, Upside Down, measuring 6 meters, has as a challenge the task of standing up. The sculpture also exceeds in scale the environment where it is installed. There is a tension between the work and architecture. The dimensions of the spaces — such as the columns, the thickness of the wall, the passages, the wall coverings, the floor, the ceiling — are seen again.



jun . 28 . 2015  -  jul . 25 . 2015 , Galeria Millan
opening jun . 27 . 2015, 11am - 03pm
Tue–Fri: 10 a.m. – 7 p.m.; Sat: 11 a.m. – 6 p.m.
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    Windows and Reflections, 1978/1985 panel with 28 photographs In gelatin silver salts selenium turning 103 x 230 cm
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    Smoker, 1954 Copy time in gelatin silver salts. 43,5 x 36,5 cm
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    Airport, São Paulo, 1965 Copy time in gelatin silver salts 34 x 45 cm
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    Sign Positive Negative, 1970 Copy time in gelatin silver salts 44,8 x 34,6 cm

How do we approach the works of German Lorca, who, at the age of 93 and after 70 years of activity, still amazes us? The exhibition Travessias held at the Galeria Millan, in partnership with FASS, aims to approach this issue and some others. The exhibition presents twenty-seven photographs of the artist, produced from 1948 to 2014, who achieved seven decades of uninterrupted production.   

It is known that Lorca is one of the major photographers among the “modern photographers of São Paulo”, all of them members of the Foto Cine Clube Bandeirantes, during the 1940s and the 1950s. The group knew how to suit to its works the vertiginous growth of São Paulo City in those days. The modern city required a new iconography that could represent it. Lorca, through his experimentation and modern instinct, found this new way and transformed the urban landscape into the living character of his images.

But the exhibition Travessias also proves that the language of German Lorca’s photography transcends the so-called modern photography repertoire; there is an evolution. At the very beginning are renowned photographs such as "Malandragem" (1949) and "Troncos cruzados" (1955).

In the 1960s, his photography shows a formal and graphical research. These images arouse some amazement, as, for instance, Folhagens”, the window “Mondrian” and “Andaime”, all of them from the 1960s. Or even “Aeroporto (1961 and 1965) in which the vagueness and some silhouettes seem to be in motion.

In the series of photographs made in New York, during three different travels (1967, 1978 and 1982), the city does not show up in its magnitude; It is a set of close-ups, composing a patchwork of mirrors, shop fronts and frontages.

The time brought to German Lorca’s photography some cleanness, a power of synthesis, as shown in “Circulo quadrado” (2007).

In his most recent series, made in 2014, the main issue is the composition of the image and the search for the essence of the shape, with lights and shadows effects created by the sun at different times of night and day.

The exhibition Travessias presents the work of German Lucas not just as part of the history of Brazilian modern photography, but also as the development of a visual language, coherent and original, which started at the end of the 1940s and reached the 2nd decade of the 21st century.





Art Basel 46

jun . 18 . 2015  -  jun . 21 . 2015 , BOOTH C3, Hall 2.0
opening jun . 16 . 2015, 11am - 06pm
thu - sun, 11am - 7 pm
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    6 movimentos, 1974 12 record photographs 30 x 45 each
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    Navalha relógio, 1970 6 record photographs, 30 x 45 each
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    Uma observação, 6 aproximações, 1 recuo, 1975 13 record photographs 30 x 45 each

Galeria Millan is delighted to participate in the Feature sector of Art Basel 2015 with works by the portuguese born artist Artur Barrio. Settled in Brazil, he works in media such as performance, installation and video, and using unusual materials such as meat, salt, organic waste, Barrio investigates transient and hidden aspects of our reality. For Basel, Galeria Millan will present the photographic records of three projects called Situações (situations), all from the 1970s: Navalha Relógio (1970), 6 Movimentos (1974) and Uma observação, 6 aproximações, 1 recuo (1975).

Art Basel

jun . 18 . 2015  -  jun . 21 . 2015 , BOOTH C3, Hall 2.0
opening jun . 16 . 2015, 11am - 11am
thu - sun, 11am - 7 pm
  • Galeriamillan_arturbarrio_navalharelogio1
    Navalha relógio, 1970 6 record photographs 30 x 45 each
  • Galeriamillan_arturbarrio_6movimentos1
    6 movimentos, 1974 12 record photographs 30 x 45 each
  • Galeriamillan_arturbarrio_umaobservac-a-o6aproximacoes1recuo1
    Uma observação, 6 aproximações, 1 recuo, 1975 13 record photographs 30 x 45 each

Galeria Millan is delighted to participate in the Feature sector of Art Basel 2015 with works by the Brazilian artist Artur Barrio.

Artur Barrio's projects engage the viewer as a participant, challenging the sensorial coordinates with which we usually consider the world so as to conjure up other ways of understanding it. Working in media such as performance, installation and video, and using unusual and potentially disturbing materials such as meat, salt, organic waste, Barrio investigates transient and hidden aspects of our reality, often revealing beauty where it is unexpected. His work transgresses the limits to which art is generally subjected and eludes stereotypical classifications. Although Artur Barrio works with a variety of procedures the conceptual core of its trajectory are the Situações (Situations) in which the artist physically manipulates space: modifying it and rendering it both active and vibrant.

According to João Fernandes, director of Museo Reina Sofia, “Barrio...creates situations where he constructs a personal discourse in which he appropriates the real, reconstituting it poetically and politically in the residues of this same real that he evidences and that are often occulted from us by the social domestication of taste and by the social self-legitimation of the artistic object”.

For Basel Galeria Millan will present the photographic documentation of three of these Situations: Navalha Relógio (1970), 6 Movimentos (1974) and Uma observação, 6 aproximações, 1 recuo (1975). Since these projects exist in accordance with their ephemerality, the records are the only way to allow those that did not witness them in the flesh to become acquainted with his projects.

Navalha Relógio (Razor Blade Clock) comprises three photos and two cardboards that document an action that the artist himself describes as: “Work accomplished in July 1970, Rio de Janeiro. A MIRROR WITH A RAZOR BLADE PLACED OVER IT. THE TIME – THE IMAGE. THE RAZOR BLADE”.

The second work, titled 6 movimentos (6 movements) is dated 1974, when the artist was again living in Portugal. The piece comprises 12 photographs of the action of cutting a canvas.
Uma observação, 6 aproximações, 1 recuo  (One observation, 6 approximations, 1 retreat), is from 1975. Accomplished when he was living in Paris, the piece has a more poetical tone than the others and has the beach and the sea as setting, elements that are dear and recurring in Barrio’s production.

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