Lenora de Barros is featured in the exhibition poder provisório, at the Museu de Arte Moderna de São Paulo. The group show presents 86 photographies from the museum collection and discusses the power in different areas of social life, using documental images and conceptual works, mostly with a political view. The curatorship is signed by Eder Chiodetto.
On March 29th, Pivô opens “Umas e Outras”, a solo exhibition by Lenora de Barros. The show, produced in partnership with Galeria Millan, displays 65 newspaper columns from the 1990s, as well as an artist book and two brand new black and white videos – “Jogo de Damas” and “Em si as mesmas” – and an audio intervention, titled “Duplicar Imagens”.
From 1993 to 1996, Lenora de Barros authored an experimental column, published Saturdays in the São Paulo newspaper Jornal da Tarde under the title of “… umas”. This space gave birth to ideas and works which transformed into autonomous videos and photo-performances in subsequent years. After showing 13 of these columns in a display window at the 11th Biennale de Lyon (France, 2011), the artist decided to frame and exhibit a larger set, taken from her personal archives.
In these columns, Lenora dialogued with works by various artists, in addition to other experiments. She later made a selection of these “conversations” involving women’s themes or works by artists like Lygia Clark, Yoko Ono, Cindy Sherman, Annette Messager and Méret Oppenheim. This selection yielded a book titled “Jogo de Damas – Crítica de Arte – Livro Primeiro”. The book, still unpublished, was the starting point for the two exhibited videos, directed by David Pacheco.
In “Jogo de Damas,” the eponymous book serves as a guide to reading vocal performances realized by Lenora and was conceived in tryptic format for simultaneous projection. “Em si as mesmas,” for its part, has a title that stems from one column in which Lenora comments on a photo from 1925, by an unknown author, of two siamese twins, the Hilton sisters. It was produced for double projection, on two opposite walls. In it, Lenora plays checkers with herself. On one screen, she moves the white checkers and on the other, the black ones, in a kind of “infinite game, with no winner and no loser,” in the artist’s words.
Curated by Glória Ferreira, the exhibition was previously presented at Centro Cultural Laura Alvim, in Rio de Janeiro.
In his new solo exhibition at Galeria Millan, ... em algum ponto da Terra ., Artur Barrio appropriates the exhibition space, transforming it into his own studio. Only days before the opening, the artist creates a unique situation or experience, which can be seen by the public from March 20 until April 17.
Artur Barrio’s work challenges the traditional artistic vocabulary, in that the word "exhibition" (and its historically sedimented meaning) does not seem to suit what the artist proposes in the way he displays his art works in galleries and institutional spaces. More than extending, reducing or distorting the current meaning of concepts such as exhibition space, art work and exhibition, Barrio employs another logic, questioning what is the essence of these ideas and deliberately frustrating the expectations that guide us, as the audience, as we come across them.
By recognizing the modus operandi not only of the art system, but of systems in general (including the world system), and by not identifying with them, Barrio does not resign himself to create a work that, in opposing such systems, continues to recognize (negatively) the same essential issues. More than that, his radical poetics shows that the act of cluttering, the breakdown of boundaries, the idea of the ephemeral and the reversibility of situations are "exercises of freedom" with strong emancipatory power.
Miguel Rio Branco presents the show Gritos Surdos at Casa França-Brasil, from March 25th to May 25th. The solo exhibition which now arrives to Rio de Janeiro was previously shown at Centro Português de Fotografia (Porto, Portugal) and at Eglise des Frères Prêcheurs (Arles, France).
“Fernando is one of a kind, in plural.” The phrase by the poet and artist Lenora de Barros, is perhaps the most concise and poetic translation of artistic and human journey of Fernando Zarif (Sao Paulo, 1960-2010). A compulsive creator, gifted with exceptional culture and asthetic sense, Zarif operated at various levels of creation simultaneously, employing the most diverse languages and media. Although he hated this title, Zarif embodied in its truest and fullest sense, the role of multimedia artist. “A proud autodidact,” he drew, painted, sculpted, wrote, played tabla and the guitar, produced graphic works, video installations, performances, and if this were not enough, he also “danced like Fred Astaire.” A student of Décio Pignatari and Hans-Joachim Koellreutter, he composed pop songs, collaborated in the creation of a minimalist electronic opera and kept a radio show specializing in contemporary classical music on the air. But it was on visual arts that he left his deepest imprint.
Having emerged around the same time as the so-called 80s generation, he never maintained the faintest relation of belonging to it. He described his journey against (or “in sharp contrast to”) everything and everyone. His distance from the art market can even be measured by the number of exhibitions he held, which is not consistent with the prolific character of his production. From 1982 to 2009, he held only nine solo exhibitions, with an eleven-year gap between the penultimate – the biggest of them all, held in 1998 at the Maison Des Arts André Malraux, in Créteil, France – and his last exhibition, the performative and ephemeral Cadernos, in 2009 at Espaço Tom Jobim, Rio de Janeiro.
Two years after the death of Fernando Zarif, the artist’s family began the Fernando Zarif Project, which includes cataloging, restorating and disseminating his work. The project is being developed in a two-story house in Pinheiros, Sao Paulo, which will soon be open to the public for visitation and research.
The first concrete result of this endeavor is the book Fernando Zarif – Uma Obra a Contrapelo. Organized by artist José Resende and edited by METALIVROS, the book brings together three hundred of the more than 2,000 works that were restored and catalogued by a team headed by expert Margot Crescenti.
In addition to the works representing the various phases experienced by the artist, Fernando Zarif – Uma Obra a Contrapelo also contains a collection of texts published in catalogs and brochures from his exhibitions and signed by names like Décio Pignatari, Tunga, Arnaldo Antunes and by Zarif himself; as well as a review by Marcos Augusto Gonçalves published in 1993, in the newspaper Folha de Sao Paulo. In addition, Barbara Gancia, Erika Palomino, Lenora de Barros, Fernanda Torres, José Resende and Thais Rivitti have written texts for the publication; which also includes a conversation between Bia Lessa, Maria Borba and José Resende concerning the last public appearance of the artist: the Cadernos exhibition, which took place at Espaço Tom Jobim in the Botanical Garden of Rio de Janeiro for two days in June 2009, as part of the event Inventário do Tempo: Livros, organized by directors Bia Lessa and Maria Borba.
Book release events
From February 17th to 27th, around 40 of Fernando Zarif’s works, in addition to a performance, can be seen by the public in Rio de Janeiro and São Paulo during the book release of Fernando Zarif – Uma Obra a Contrapelo. With no formal curatorship and having only the geographic location of MAM-RJ and Galeria Millan as determining factors, the two sets of works serve as the backdrop in the celebration of the completion of the book, rather than an exhibition in itself.
At Galeria Millan, which housed five of the nine shows by the artist, the book launch starts at 8pm on February 17th, welcoming guests with an exhibition featuring around 25 works, including drawings, paintings and sculptures. The collection is open to the public until February 27th.
At the Museum of Modern Art in Rio de Janeiro, the book release will take place on February 20th, with the new edition of Cadernos. The artist’s works will be on display until the 23rd.
Rodrigo Andrade participates on the show Brazil: Arbeit und Freundschaft, at Pivô, in São Paulo. Created by artist Pedro Caetano, the exhibition focuses on the three elements in its title, in German: Brazil, work and friendship. The project presents a thought on the processes of curatorship and the institutional relationships by structuring the show from social relationships.
Tatiana Blass is featured in the show Cruzamentos: Contemporary Art in Brazil, at the Wexner Center for the Arts, in the Ohio State University, USA. The Portuguese word cruzamentos translates literally as “crossroads” or ‘”intersections,” but in Brazil it’s also a metaphor for the diverse cultural heritage that makes the country so distinct. In that spirit, this exhibition explores the work of almost 40 dynamic Brazilian artists—many of whom have never been widely exhibited in the US—whose practices and influences are as varied as the social, racial, and geographical composition of the country itself.
Henrique Oliveira presents a new installation at the Projective Eye Gallery, at University of North Carolina, USA.
Lenora de Barros participates in the show 140 caracteres, at the Museu de Arte Moderna de São Paulo. The exhibition explores the political mobilization created from the social networks, which took place during the protests in Brazil in June of 2013. Following the title, inspired by Twitter, the group show presents 140 works from the museum's collection. The curatorship is shared by 20 students from the Laboratório de Curadoria do Setor Educativo do MAM.