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.
Sofia Borges, Artur Barrio e Felipe Cohen are featured in the show Imagine Brazil, at Musée d'art Contemporain de Lyon, France, after being held at Oslo, Norway.
The curatorship is signed by Gunnar B. Kvaran, Hans-Ulrich Obrist, Thierry Raspail.
Henrique Oliveira is featured in the exhibition Do Valongo à Favela: imaginário e periferia, at Museu de Arte do Rio (Rio de Janeiro, Brazil). The curatorship is signed by Rafael Cardoso e Clarissa Diniz.
A landscape made only of essential elements fills the exhibition space of Galeria Millan during Otavio Schipper’s solo show. Four line segments – rails sitting directly on the floor and two poles connected to the local power grid – compose this Pocket Landscape, the title of this exhibition that, according to the artist, could well be called “landscape without a landscape.”
The simplicity of Schipper’s installation brings us to the Cartesian plane: the rails and poles can be the x and y axes of a graph, transfiguring the exhibition space into geometric space, the area of mathematical abstraction and rationalization. The construction of the installation which uses elements that symbolize the first two industrial revolutions, points to processes of scientific development that Western societies have experienced in modernity, a break that disenchanted the world, dominated by utilitarian and teleological understandings of progress.
Pcket Landscape creates a relationship between the inside and the outside: in addition to the gallery being occupied with elements that should be in external spaces, these objects are functional and actually bring energy from other poles situated on street. If, on the one hand, the transmission introduces ideas as flow and communication, the installation maintains a melancholic dimension. For the artist, the work “evokes the image of the city that spreads and invades the private space, of the energy that is present anywhere in the universe, of the impossibility of isolation.” The need to be connected suffocates the space of subjectivity amid the noise of the world.
Miguel Rio Branco presents Teoria da Cor, a solo show at Estação Pinacoteca, in São Paulo, Brazil.
Henrique Oliveira has chosen one of the big barns in the Farmyard of the Domaine de Chaumont-sur-Loire to erect a hybrid, almost living work of art that seems literally to rise up from the stone walls. He has designed an impressive spiral coiling around the framework and stairways of the building like a huge snake or a root that has been buried for decades in the stone and suddenly begins to grow impulsively, out of any control. The work wavers between animal and plant – its creator sees it as a reference to the snake in the story of Le Petit Prince, which swallows an elephant. But as with Gaston Bachelard (who wrote “The Poetics of Space”), for Oliveira the barn is the lair of the unconscious, and dark, unknown forces. For no one knows where the work begins and where it ends, or when this giant root or reptile will cease its inexorable growth.
Rubens Mano participates in the show Lost in landscape, at Mart - Museo de Arte Moderna e Contemporanea di Trento e Rovereto, Italy. The exhibition, curated by Gerardo Mosquera, tackles the subject through the works of over 60 artists from around the world, many of which never before presented in Italy. On display are over 170 photographs, 84 paintings, 10 videos, 4 video-installations, 4 installations, 4 context-specific interventions, 1 web-specific project and 1 artist’s book.
Galeria Millan presents at SP-Arte – São Paulo International Art Fair – a selection of works by both young and estabilished artists, from the 1970's until now. Our booth, J02, will display pieces by Ana Prata, Artur Barrio, Anna Maria Maiolino, Berna Reale, Bob Wolfenson, Dudi Maia Rosa, Emmanuel Nassar, Felipe Cohen, Henrique Oliveira, Lenora de Barros, Miguel Rio Branco, Mira Schendel, Nelson Felix, Otavio Schipper, Paulo Pasta, Rodrigo Andrade, Rodrigo Bivar, Rubens Mano, Sofia Borges, Tatiana Blass, Tunga and Thiago Rocha Pitta.