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.
Twine, wood and fabric are some of the materials chosen by Ana Prata to compose the pieces of her first solo exhibition at Galeria Millan. Opening on June 5th, The Sun and the Difference marks a new phase in the artist’s work, in which she diversifies the media for her paintings, dedicating herself to a more symbolic representation and to abstraction.
From the use of uncommon materials emerges an objectual character, beyond the traditional oil on canvas. “Different media and materials may interest me while creating a painting, since each of them is a unit of thought or an idea, that manifests itself through the body of an object and its appearance. I am interested in the uniqueness of each piece,” says Ana.
This liberation from the support also allowed for greater freedom in the themes of her work in this new phase. If until then the artist based the composition of her paintings predominantly on images she found on the Internet, now imagination has become a central point of her creations. This change led to the rise of symbolic, archaic figures, which offer a synthetic view of nature, beyond experimentation with purely geometric and abstract shapes.
Present in the title and in several works in the exhibition, the Sun emerges as a rare symbol of unity in a collection marked by diversity, a characteristic that has been maintained by Ana Prata. For her, the representation of this element refers to the early stages, to the caves, to children's drawings. And it is precisely through this search for simplicity that Ana’s work deepens and matures, coming closer to forms shared by human imagination.
Emmanuel Nassar and Nelson Felix participate in the show O Artista e a Bola [The artist and the Ball], at OCA - Museu da Cidade, in São Paulo. The group show gathers more than 80 works by Brazilian and foreigner artists, with curatorship by Fábio Magalhães.