artrio 2015 - Luciana Caravello

ARTRIO 2015
PAVILION 2 | BOOTH E10
[PREVIEW]
BOOTH LOCATION
HOURS
09 | 09 | 2015 WED – PREVIEW
5pm – 9pm Opening for guests
10 | 09 | 2015 THU
1pm – 9pm
11 | 09 | 2015 FRI
1pm – 9pm
12 | 09 | 2015 SAT
1pm – 9pm
13 | 09 | 2015 SUN
1pm – 7pm
PÍER MAUÁ
Avenida Rodrigues Alves
Armazéns 1, 2, 3, 4.
Centro 20081-250 | Rio de Janeiro – RJ | Brazil
+55 21 2516 2628 www.piermaua.com.br
TICKETS
R$ 30,00 | R$ 15,00 half-ticket (students and seniors)
Children under 18 must be accompanied by their parents or responsible keepers.
ADRIANNA EU
These pieces are a sample of the work of Adrianna Eu,
who for some time has been using mirrors, glass, crystals
and other materials to embody some of her artistic
investigations. These meanings connected with the
reflective/reflexive capacity of the mirror seem to take
on a wider tautological function in the work of someone
whose artistic name is “Eu” [‘I’ in Portuguese]. “I”,
Adrianna states, am not closed in on myself, but have an
implicit “other”, an identity that can only be established
through a relation of otherness. For this artist, the
element of exchange, of contiguity, is crucial.
- Ivair Reinaldim
Eu e você [Me and you] 2015
Mirrors, plugs and cable
Ed: 2/3+PA
30 x 17 x 4 cm
AFONSO TOSTES
In Afonso Tostes’ translation to Homer’s epic words,
Odysseus’ reality is only fulfilled when its scenery
is fulfilled, adding to the landscape the traits of his
ingenuity and the marks of his art. This fulfillness
is materially achieved adding to the surface of
the canvas and to the technique of the painting a
foreground that superimposes to the background,
imposing to sea and sky the inevitable tricks of
Odysseus. For not by sky and sea alone does man
live: he deals with them, interferes, reacts, adds
himself to them, leaving on the skin of everything
the evidences of his art, the various invents of the
“poly-artful” Odysseus. Mirror to the humane,
he invents a way amidst nature, superimposing
to it his ties, here translated as ropes, threads,
carcasses, nets, knots, pieces of wood and vestiges
of boats and boatmen, materials which the artist
collected under the sky and by the sea, and that
mirror the story of Odysseus and the history of
men, the astuteness of his inventions and the skill
of his hands.
- Alexandre Costa
Sem Título [Untitled] 2015
Wood and oil on canvas
120 x 130 x 18 cm
ALEXANDRE MAZZA
The man who fell from Heaven
On a blue day, he came from Heaven
it was a blue day, he didn’t even notice
that a million years have passed in a few seconds
the universe fit in the palm of a hand
without revealing himself, he wandered
gazing into the miracle, finding pain
On a blue day, he came from Heaven
on this blue day, he realized
that men created two sides
faith and disbelief
ugliness and beauty
cure and disease
he understood; to learn the mistery of life
is to seek balance little by little every day...
- Alexandre Mazza
O Homem que Caiu do Céu [The man who fell from Heaven]
2015
Wood, glass, desert rose, plexiglas, mirror and fluorescent
lamps
Ed: PA/5+PA
51 x 51 x 14 cm
ALEXANDRE SEQUEIRA
Alexandre Sequeira went to Nazaré do Mocajuba to shoot the
landscape. Never photographed, residents asked to be registered.
Sequeira proposed a barter to the village, where money circulates
poorly. In exchange for a used piece from each house, he would give
them a new one. On each sheet, hammock or mosquito net received,
he printed the picture of the owner. Then he set up an open-air
exhibition on the banks of the river Mocajuba. Individuals need, like
Narcissus, according to Lacan, to see their image - a reflection in
water, a mirror or a photo - in order to form the unitary image of
themselves.
- Paulo Herkenhoff
* Text written for the XXVII Art Pará catalog.
Série Nazaré do Mocajuba - Dona Alice 2004-2005
Photography
Ed: 3/10
46 x 70 cm
ANA LINNEMANN
(...) Constrained by a lifelong habit of good manners and
accommodating function and form, these ordinary objects,
once disfigured, become protagonists.
Ana Linnemann does not reflect on objects; she thinks
with them. The object itself, in its apparently immutable
concreteness, reveals itself here to be a dynamic device
that raises questions the answers to which are new
questions talking to one another.
(...)
Nothing here is situated in a revolutionary realm of
dreams; these are infra-real objects that provoke mirth
from forms liable to change species, lose or shed their
anatomy. It is impossible to tell whether this laughter
is an ill omen or a symptom of relief, but it is definitely
a sign of the turmoil created in the identity logic that
conventionally posits the object accommodating function
and form.
- Laura Erber
Pintura-alvo, número 1 [Target-painting, number 1] 2014
Linen, wood, acrylic
120 x 60 cm x variable (max. 60 cm)
ANTONIO LEE
This Is Your Life 2015
Oil on canvas
30 x 30 cm
ARMANDO QUEIROZ
(...) In his famous Sermon of the Holy Ghost (1657),
Portuguese Father Antonio Vieira contrasted marble
statues, which take time and work to be built, but need
no adjustments later, to myrtle statues, far easier to
build but in constant need to be trimmed later. Vieira
compares the indigenous populations met by the
Portuguese in Brazil to myrtle statues, as they “receive
everything taught to them with great sweetness
and easiness, without arguing, replicating, doubting
or resisting; but they are myrtle statues which, as
the gardener raises his hand and scissors, soon lose
their new figure and revert back to the natural and
previous brutality, to being jungle like before” (Vieira
qtd. in Viveiros A Inconstância 184). Evangelization
thus takes the form of a mnemonic machine, an
antidote against the supposedly amnesic nature of
the Amerindians. Native Americans, of course, were
only amnesic when looked at from the standpoint
of a colonialist conception based on an identitarian,
Aristotelian logic according to which one either is or
is not. If Amerindians appeared to have learned and
assimilated a lesson, it was reasonable to assume that
they would act accordingly the following day. But that
did not happen.
- “Amerindian Perspectivism and Non-Human
Rights”, Idelber Avelar
Grilhões c. 1990
Old fetter and urucum dust
11 x 25 cm ø
BRUNO MIGUEL
I like the fact that the subject of discussion in my work carries memory,
not only the one brought by it before it coming to my hands, but also the
viewer’s memory, when faced with something which, of course, is part of
their everyday memories. It always interested me to discuss the possible
relationship between high and low culture, between the sophisticated and
kitsch, between the pseudo-depth of certain conceptual speeches and
false pop aesthetic superficiality.
- Bruno Miguel
Série “Cristaleira”, Composição 03 2015
Poliester resin, spray paint and glass
33,5 x 16 x 16 cm
CAROLINA PONTE
Carolina Ponte’s work is devoted precisely to the observation
of ornaments, excessive gestures, “unproductive expense”, as
Bataille terms it. Producing crocheted objects and multicolored
drawings, the artist turns us into viewers of images originally
connected with the decoration of temples. On the other hand,
these are also connected with profane rites, occasions on
which we come into contact with unproductive expense: frills,
fancy-dress for cathartic consummations. The artist’s work is
practically a spectacularization of form, ornate for no reason.
Shorn of their nucleus, friezes and frames are, in themselves,
the principal subject matter, windows blind to the world. Ponte
expunges, erases information; yet this does not make us notice
what is missing, but rather the human desire to dedicate
oneself to excess.
- Marcelo Campos
Sem título [Untitled] 2015
Acrylic and pen on paper
204 x 140 cm
DANIEL LANNES
Poder [Power] 2015
Oil on linen
220 x 160 cm
DANIELLE CARCAV
É nóis: Made in China 2015
Watercolor, guache and ink on paper
95 x 65 cm
FABIO BAROLI
Série “Quando a seca entra” 2015
Oil on canvas
Various dimensions
GISELE CAMARGO
Entre Laterais 5 2015
Acrylic, sinthetic enamel and oil on wood
45 x 90 cm
GUI MOHALLEM
Sem título, da série Tcharafna 2013
Photography
Ed: Unique + PE
78 x 140 cm
GÜLER ATES
This photograph is created in the Royal Academy of Arts (“RA”) Research Library,
the oldest institutional fine arts library in the United Kingdom, serving the needs of
Royal Academicians, students and scholars for over 200 years.
Guler’s RA Research Library photograph series of hypnotic photographs explores
female identity through the lens of the artist’s own experiences of cross-cultural
displacement as well as accepted models of culture in the West. In these works,
a 21st century woman fully covered in swathes of brightly coloured lace or silk
reminiscent of a “veil” with all its contemporary Western readings is positioned
against the backdrop of the esteemed RA Library’s stacks of books, some of which
date back to the Academy’s foundation in 1768. This juxtaposition of the old and
the new as well as Middle Eastern exoticism and Victorian propriety are common
themes in Guler’s practice. The artist explains, “I am not directly influenced by the
RA’s architecture as the building is neoclassical. However, I am more interested in
its relation to the Victorian era, where I feel there is a strong link to the East… there
was an obsession with the East during the Victorian era. Frederic Lord Leighton
would serve as a compelling example of Victorians’ interest the East.” According to
the artist, inserting the veiled woman, a figure that is central to Ates’ practice, into
this architectural environment creates an image of the “other” or the “unknown”,
helping us to understand our own culture and its inherent meaning.
Guler’s first experience of the RA Library also influenced this body of work. Ates
states, “I visited the RA Library for the first time to research Lord Leighton’s
drawings and sketches in 2009 for my residency at the Leighton House Museum in
2010.” In some of the sketchbooks of Lord Leighton, who was the president of the
RA from 1879-1896, Ates recalls, “I saw images of veiled women, which he drew
during his Algeria trip. They struck me as exoticising images and stayed with me for
a long time.” Imbuing her female subjects with a mystic exoticism that brings to the
fore Western notions of Orientalism, Ates has also instilled in these haunting iconic
figures a sense of power amidst this historical bastion of scholarship and learning.
- Marcelle Joseph
The Light and The Dust 2013
Print on photolustre Hahnemuhler
Ed: 2/5
67 x 100.5 cm
IVAN GRILO
Estudo para rodapé 4 (Ao sul do Equador) 2015
Bronze plate
Ed: 1/3+PA
70 x 7 cm
JAMES KUDO
Floresta [Forest] 2014
Acrylic on canvas
150 x 150 cm
JEANETE MUSATTI
Serie verde [Green series] 2013
Mixed media
30 x 20 x 10,5 cm
LUIZ HERMANO
Cocar [Cockade] 2015
Resin and wire
140 x 120 x 15 cm
MARCELO SOLÁ
Sem título [Untitled] 2015
Mixed media on Fabriano paper
70 x 100 cm
NAZARENO
Como Eu Coletei As Coisas do Mundo [How I collected Things from the World] 2015
Ready-made, drawing
29 x 43 cm (each)