From September 9 to November 23, the Art Museum of Rio (MAR) presentes Pororoca – A Amazônia no MAR, group show curated by Paulo Herkenhoff, featuring works of Berna Reale and Emmanuel Nassar, among other artists.
The exhibition shows works from the collection of MAR related to the Amazon region, in many aspects, covering topics such as ecology, cosmology, sociology, anthropology and politics.
The Art Museum of Rio (SEA) is located on 5 Mauá Square, Rio de Janeiro, Brazil, and can be visited from Tuesday through Sunday, 10 am to 5 pm.
In his new exhibition at Galeria Millan, Thiago Rocha Pitta presents a never-before-seen video, as well as previously exhibited pieces that relate to this new work. The art piece that gives name to the exhibition, Ocean / Atlas, was created during an artistic residency in Norway in 2014, through the Circulating Air program. The artist appropriates a mythological figure to name and create a work that explores issues that are present in his work as a whole, like an extended experience of temporality and the limits of the relationship that man can establish with nature.
The mythological universe and literature are constant references in the work of Thiago Rocha Pitta (as in videos O cúmplice secreto (The secret accomplice) and Youth, in which the artist borrows the same titles and themes from the work of Joseph Conrad); these references, however, are never univocal or limited by the direction of origin. Elements and human characters are transfigured essentially into mineral forms, sometimes plants, in these contexts created by Rocha Pitta. It is worth noting that even elements that are inherent in the technical and cultural (such as sailing or the control of fire) are displaced in these videos, appearing as ghosts, mysterious beings that cannot produce themselves, but that also do not seem to emerge from human force. The camera, static or drifting, puts the spectator in the awkward position of voyeur of this world that seems to exist without him or her.
The boat is also a recurring theme in the artist’s work. Three art pieces with this element can be seen on the first floor of the gallery: in Homenagem a JMW Turner (2002), a boat is burned on the ocean, a clash between fire and water; in Herança (2007), a drifting boat carries a handful of dirt and two trees, an image that is dreamlike, ironic and full of loneliness; in O cúmplice secreto (2008), finally, a gleaming form, whose precise contours are difficult to understand, approaches the camera/viewer on the ocean and, as it does, it brings the dark, producing a growing tension brought about by this presence that can not always be seen, only guessed.
In Ocean / Atlas, in turn, is not the sea that contains the boat, but the boat that carries the ocean. This fragile wooden structure takes the place of the titan Atlas, floating in the void, sustaining the Earth or at least its seas. Originating from the technical dominance of man over nature and associated with the blossoming and growth of numerous civilizations, the ability to sail appears here as the fulcrum of the world. The image echoes interviews in which the artist says, for men, nature itself does not exist: as Midas, everything that man touches turns into culture, even the ocean wilderness.
Berna Reale, Sofia Borges e Tatiana Blass participate in the exhibition Singularidades/Anotações:Rumos Artes Visuais 1998-2013, which presents a selected works from the 17 year of existence of the project Rumos Artes Visuais and Rumos Arte e Tecnologia, by Itaú Cultural. The curatorship is signed by Aracy Amaral, Paulo Miyada and Regina Silveira.
Continuing with the commemorations of the gallery’s tenth anniversary, the Galeria Estação art gallery, this time in partnership with Galeria Millan, carries out the collective exhibition Almost a Figure, Almost a Shape, with the curatorship of critic Lorenzo Mammì. The union of these two galleries, that work with distinct lists of artists, reinforces the popular concept that there is no territory separating production which is known as popular from a more contemporary set of themes.
Alcides Pereira dos Santos, Ana Prata, Aurelino dos Santos, Cícero Alves dos Santos, Felipe Cohen, João Cosmo Felix, João Francisco da Silva, José Bezerra, Neves Torres, Paulo Pasta, Sebastião Theodoro Paulino, and Tatiana Blass are the names represented in the collections of the two galleries. However, the curator has also selected artists that are part of other casts, such as Marina Rheingantz (Fortes Villaça Gallery), Fabio Miguez and Sergio Sister (Nara Roesler Gallery), and Paulo Monteiro (Mendes Wood).
In the opinion of Mr Mammì, while many contemporary artists are getting closer to issues related to representation, or addressing the support programme in a more individualised and less concept-based manner, popular art is gradually taking on a relationship with greater freedom, with their traditional repertoire.
According to Mr Mammì, a careful analysis of the production of popular and contemporary art over the last thirty years shows possible areas of convergence to be exploited. For the curator, the end of the 1970s signals the start of a greater value for participation rather than abstraction in contemporary painting. “Maybe it can even be said that if the 20th Century was a century of abstraction, the 21st Century starts out as a figurative century”, he adds.
At the same time, Mr Mammì defends the idea that Brazilian popular art – always rooted in the core concepts of image, picture and sign – has expanded its repertoire by allowing the authorial vocation of its representatives to gain more and more space. “A certain erasure of image, a certain dissolution of the traditional narrative structures and symbologies that have already been established, can also be identified, as I see it, in the most recent form of popular art”, says the critic.
Mr Mammì stresses that popular art in Brazil “has never been strictly folkloric, in the sense of repeating, without any intended singularity, an inherited community repertoire.” In his opinion, with the sole exception of Native Brazilian art, this repertoire practically did not exist, or had been imported very recently. Mr Mammì also highlights the fact that handicrafts were developed right from the outset, close to the urban centres or even inside them, where commercial activity was more intense, favoured a production with more evident individual characteristics. “The boundaries were never clear-cut in this regard: artists of a popular background, such as Emygdio de Souza, Agnaldo dos Santos, Djanira and Heitor dos Prazeres would circulate in a more cultured environment, while painters that had an erudite background (such as Guignard, Volpi and Pancetti) were closer to popular language”, he adds.
Artur Barrio participates in the exhibition Artevida, which is presents more than 300 works at different places and institutions of Rio de Janeiro. The show explores the relationship between art and life through the 1950s until the begining of the 1980s.
Galeria Millan presents, from July 17 to August 16, a solo exhibition of one of the greatest names in Brazilian art: engraver, illustrator and teacher Oswaldo Goeldi (1895-1961). The show brings together some of his most representative works, spanning different periods of his career, including Mar Calmo (1937), Autorretrato (1950), Chuva (1957) and Luz Noturna (1960).
In addition to an important set of woodcuts, visitors will be able to see watercolors and drawings that have rarely been exhibited. The solo show will also display a small atelier, assembled by Projeto Goeldi with instruments and objects used by the artist, to help visitors immerse themselves in his universe of creation.
One of the greatest representations of Brazilian engraving, Goeldi gave modern power to the archaic technique of woodcutting, using minimal elements of light and shadow to compose his works. Unlike the predominantly solar and tropical modernism, the artist brings forth, since the early stages of his production, a focus on the desolate aspects of the city – the evening, the houses, the narrow streets of the suburbs and the people marginalized by society. It is from these scenes that he builds an expressionism of almost unreal landscapes, showing a gross reality of solitude and silence.
Curatorship by: Lani Goeldi
Organized by: Galeria Millan, Associação Artística Cultural Oswaldo Goeldi and Goeldi Project
Produced by: Galeria Millan and Cult Arte e Comunicação
Berna Reale is featured in the show “Artistas Comprometidos? Talvez”, at the Fundação Calouste Gulbenkian, in Lisboa, Portugal.
Lenora de Barros participates in the show Art.br#3 poiesis in Praxis, at Pioneer Works, in New York. The project brings a selection of Brazilian contemporary production in performance and its dialogue with other languages. After two editions which have explored the encounter between performance and video and performance and music respectively, the third edition proposes the gathering between performance and poetry throughout the works of Tunga and Lenora de Barros. The works created by both are influenced by different Poiesis although they belong to a similar Praxis – performance and poetry.
Lenora de Barros participates in teh show Estado de Suspensão, at Coletor, in São Paulo.
The curatorship is signed by Fernando Ticoulat e Germano Dushá.