A Galeria Luiz Fernando Landeiro busca mostrar a arte contemporânea de forma expansiva, não convencional, sendo sua principal missão difundir a arte em uma expressão livre. Com consciência sociocultural marcante e linha de trabalho alinhada com a arte em todas as suas expressões, busca mostrar a produção de artistas nacionais e estrangeiros, novos ou consagrados, criando experiências, realizando exposições e mostras coletivas das diversas vertentes contemporâneas.
O projeto arquitetônico é assinado por Dolores Landeiro, designer de interiores e grande apreciadora das artes, que criou três pavimentos nos 400 metros quadrados de área, possibilitando a realização de exposições nos três ambientes. A galeria ainda abriga um espaço de venda de livros de arte e fotografia.
Diretor: Luiz Fernando Landeiro
Financeiro: Diana Nunes
Gerente de Vendas: Raimundo Jôu Vilela
Produtor Cultural: Camilo Fróes
Estágiaria: Yasmin Reis
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Publicações
LUIZ FERNANDO LANDEIRO ARTE CONTEMPORÂNEA
A galeria Luiz Fernando Landeiro Arte Contemporânea possui um perfil voltado à produção de arte contemporânea, apresentando obras de artistas brasileiros e internacionais, e dando especial atenção à jovem produção baiana. A galeria trabalha com diversas linguagens visuais da atualidade priorizando a qualidade formal e a profundidade poética das obras, considerando a perspectiva de desenvolvimento da carreira de jovens artistas. Localizada em região nobre de Salvador, é um espaço com área de 580 metros quadrados distribuídos em três pavimentos e totalmente adaptado às necessidades atuais de montagem de exposições, com climatização, aparelhamento para exibição de vídeos, equipamentos de segurança e reserva técnica adequada aos padrões de guarda e conservação de obras de arte. A galeria participou em 2012 da ARTIGO Rio Feira de Arte Contemporânea, onde ganhou a premiação de Melhor Projeto Jovem, e mantem planos para ampliar sua participação em outras feiras. Com formação realizada em diversos cursos de arte oferecidos pelo Museu de Arte Moderna da Bahia, e após experiência informal no mercado de arte, o galerista Luiz Fernando Landeiro abriu a galeria em 2013 com a proposta de abrigar exposições coletivas e individuais, de contribuir com o cenário cultural e de dinamizar o mercado de arte em Salvador. Constam no acervo obras de Adrianna Eu, Almandrade, Antônio Tarsis, Bruno Miguel, Evandro Soares, Eliezer Bezerra, Gia, Luiz Mauro, Luís Parras, Marcelo Daldoce, Marcelo Solá, Péricles Mendes, Renata Cruz e Tuti Minervino, entre outros.
Em Balaios
Além da Pele/Beyond Skin
Campos de Batalha
GIA é arte!
Eu escuto a cor dos pássaros
Da Boa Morte
Caçador de Bonecas
ACQUA
Dudha Devi
Matuto. Matreiro?
Como refazer o mundo
Lançamento catálogo Boardilla
A sombra do delírio verde
Andrea Brown studied at the School of Visual Arts of Parque Lage, Rio de Janeiro, Brazil. In 2009 he participated in the Artist Residency Program at École nationale supérieure des Beaux-Arts, Paris, France. In 2004 he received the award Novíssimos IBEU (Brazil United States Institute) where he held his first solo exhibition. Since 2006 participated in several collective exhibition in Brazil and abroad, especially: Rio, Saltfineart Gallery, CA. – USA, 2014 How Redo the world, Luiz Fernando Landeiro Gallery, Salvador – Brazil, 2014 Gigantes por su propia naturaleza, IVAM Institut Valencià d Art Modern – Spain 2011 36th Exhibition of Ribeirao Art National Black Contemporary, Ribeirao Preto – Brazil 2011 Hold up, Galerie Nationale Supérieure L’Ecole des Beaux-Arts, Paris – France, 2009 Nano Stockolm, Studion 44, Stockolm – Sweden, 2009 last House last Landscape Gallery Matias Brotas, Victoria – Brazil 2007 30 years tonight, School of Visual Arts of Parque Lage, Rio de Janeiro – Brazil, 2006 lives and works in Rio de Janeiro, Brazil.
Formation
Residence – École nationale supérieure des Beaux-Arts, Paris, France, 2009
School of Visual Arts of Parque Lage – EAV, RJ
Individual exhibition
2006 | About nomadism
Award Novíssimos – Art Gallery IBEU (RJ)
Group exhibitions
2013
More Painting, Federal Justice Cultural Center, RJ
Opening Gallery Orlando Lemos, MG
Mirante, MUV Gallery, RJ
BETWEEN Jaime Portas Vilaseca Gallery, RJ
2012
The Tenement, Cultural CERPERJ, RJ
commonplace, SESC Quitandinha, Petropolis, RJ
2011
36 ° SARP – Hall of Ribeirao Preto National Contemporary Art, Ribeirão Preto – SP
SIERRA / SIERRA, SESC Petrópolis (RJ)
Gigantes por su propia naturaleza, IVAM Institut Valencià d’Art Modern – Spain
2010
Yearbook Embu das Artes, 27 Salon of Plastic Arts – SP
Dialogues, Art Gallery Ibeu, RJ
2009
Hold up, Galerie Nationale Supérieure L’Ecole des Beaux-Arts, Paris – France
Nano Stockolm, Studion 44 (Stockolm, Sweden)
An empty to stop me, Luis de Camoes Street No. 02, RJ
2008
Touch, Bishop Museum Rosario Contemporary Art, RJ
Between images, Largo das Artes Gallery (RJ)
1st Exhibition of Plastic Arts of Petropolis, RJ
2007
The last House the last Landscape Gallery Matias Brotas, Vitória – ES
Passion, Bishop Museum Rosario Contemporary Art, RJ
IBEU Collection of Works, Art Gallery Ibeu, RJ
The Book Artist, School of Visual Arts Parque Lage, RJ
Nanoexposição
Art gallery University Area UFES, Vitória – ES
What is normal? Contemporary cultural space – ECCO (Brasilia)
2005
30 years tonight, School of Visual Arts of Parque Lage, RJ
2004
Last Things, Art Gallery IBEU, RJ
AWARDS
2010 | Yearbook Embu das Artes 27 ° Hall of Plastic Arts Sculpture Award
2004 | Last Things, Art Gallery IBEU, RJ
Antônio Társis – 1995. Self-taught artist, born and living in the city of Salvador – Bahia, began painting at age 16. At 18, he started projects in other formats such as: photography, painting in various supports, objects and collage.
Neto de fairgrounds, still in his childhood, moved to the Sete Portas neighborhood, traditional for its informal commerce and stores of construction material, where the artist finds, in his most recent works, aesthetic references that dialogue with the historical context of City, a Savior in everlasting transformation.
Student at the OiKabum School of Art and Technology! – Salvador (2014/2015). He is part of the research group resulting from the “Workshop of Contemporary Processes in Visual Arts” given by the visual artist Caetano Dias. At the invitation of Zivé Giudice, in parallel exhibition to the exhibition “40 Years of Contemporary Language”, alongside renowned Brazilian artists such as: Almandrade, Bel Borba, Caetano Dias, Eliezer Bezerra, Sergio Rabnovitz
He was one of three winners of the Energy in Art Award – 5th Edition (2016). Prize of national prominence for young artists offered by Instituto Tomie Ohtake in partnership with Instituto EDP (Energias de Portugual).
Daniel Vasconcelos Melim (Portugal, 1982) divides his practice between images made by hand (Drawing and painting), community art projects and educational projects. Lives and works inLisbon. He graduated in painting from the School of Fine Arts, University of Lisbon (2006)in Applied Anthropology and Community and Youth Work (MA) at Goldsmiths College (London, 2016). During the master was grantee of the Calouste Gulbenkian Foundation. Finalist EDP Award Young New Artists in 2007, won the World Loyalty Award Young Artists in 2011 and was shortlister world project 100 Painters of Tomorrow (Thames & Hudson, 2014). Already developed art projects and exhibitions in Portugal, Spain, Brazil, Germany and the United United. Pedagogically, he worked several years with the educational service of the Art Centre Modern Calouste Gulbenkian Foundation and private art schools in Lisbon. Interested for affective dimensions, historical, legal, political, ecological and spiritual creation.
2014/2015 – Master in Applied Anthropology, Community and Youth Work – Goldsmiths College -University of London
2001/2006 – Degree in Fine Arts-Painting – Faculty of Fine Arts – University of Lisbon
2005 – Degree in Design Semester – Erasmus Exchange – Hogescholl Gent – Belgium
AWARDS AND HONORS
2013 – Semi-finalist of 100 Painters of Tomorrow, a project of the Thames and Hudson- publisher (Juri: Kurt Beers, Cecily Brown, Tony Godfrey, Yuko Hasegawa, Suzanne Hudson, Jacky Klein, Gregor Muir, Valeria Napoleone, Barry Schwabsky, Philip Tinari ) – United Kingdom
2011- Winner Fidelidade Mundial Young Painters Award (Juri: Bruno Pacheco, João Queiroz, Leonor Nazaré, Miguel Lobo Antunes, Miguel Wandschneider) – Portugal
2007- Finalist EDP New Artists Award. (Juri: Delfim Sardo, John Pinharanda, Nuno Crespo) – Portugal
SOLO EXHIBITIONS
2012 – Painting – Nuno Centeno Gallery – Port
2011 – Painting and Drawing – Mercedes Viegas Gallery – Rio de Janeiro – Brazil – Painting – Module – Diffuser Art Centre – Lisbon
2009 – Ginguba (painting) – Module – Diffuser Art Center and Gallery Almost – Lisbon and Porto
2008 – Love (painting) – Module – Diffuser Art Centre – Lisbon
2007 – Drawings Murals – Features Factory – Lisbon
2006 – For the House (painting) – Module – Diffuser Art Centre – Lisbon
EXHIBITIONS
2014 – Paintings Room – Gallery Mercedes Viegas – Rio de Janeiro
2013 – Following the Central Light – Mercedes Viegas Gallery – Rio de Janeiro – Brazil
2012 – The Sound (Cristina Lamas and Joan Escoval) – Nogueira da Silva Museum – Braga
– Presence in the World (with Peter Kogen) – Prazeres Gallery – Madeira Island
2011 – Fidelidade Mundial Young Painters Award – Chiado 8 – Lisbon
– Port 187, JUP Space – Port
2010 – Interferências- Shows Public Art, Drawing Spaces – Lisbon
– Mono – The Purpose of GICAPC Group / COLOR, C.A.P.C. – Coimbra
– Collective 10 – Mercedes Viegas Gallery – Rio de Janeiro – Brazil
2009 – Collecting I: Painting – Module – Diffuser Art Centre – Lisbon
2008 – Atlas Design Project – Foundation Carmona e Costa – Lisbon (cat.)
2007 – EDP New Artists Award 2007 – Central Freixo – Porto (cat.)
2006 – Painting Finalists – the Galveias Palace Gallery Hall of the Teatro Aveirense Former Captaincy of Aveiro, the Town Hall Gallery, Library of the University of Aveiro, Cooperative Tree – Lisbon, Aveiro and Porto
– Design Finalists of the Fine Arts Faculty – National Society of Fine Arts
ARTISTIC PROJECTS
2015 – the Feature Film Mountain poster image of John Salaviza (winner in the category of Short Film of the Cannes Film Festival’s Palme d’Or in 2009 and the Berlin Festival Golden Bear 2012) – Movies producer of the Tagus – Lisbon
Incantations CD Art Renata Rosa – Helico Music – France
2013 – Artist residency in Sacatar Institute. Project Thanks, painting to the community – Bahia – Brazil
Kirimurê – theater of animated forms (with Caroline Lima Leite) – FESTIT Festival (Itaparica Island) and Cañizares UFBA Gallery (Salvador) – Bahia – Brazil
2012 – Mural (with Rigo 23 and the Ribeira Seca community) – Machico – Madeira Island
Treasures of Maps search – design for people in recovery (with Rita Tojal) – Cascais and Lisbon
Opening Walking Art Gallery (with Tiago Gandra) – Lisbon
Drawing Wall – Oceanarium Auditorium Lisbon
2010 – Artist Residency Home and Abroad (integrated Triangle Arts Trust, organized by Xerém Association). author of Design Project and participatory – Sintra
2008 – Wall Drawing Atlas Wall nro.1 – Proxecto-Edición 2008 – Pazo of Pontevedra Culture – Spain
2007 – Artist residency of collective design processes research – Convent Workshops – Montemor-o-Novo
Good death
The course of the artist comes from a deep research on the ink, its texture, its interaction, its form. Where often the work itself is only ink, creating a loose expressionism, supported thus giving a light weight, strong palette with paints and their colors. This freedom in the artist search for new elaborations with painting comes unfold in figures, loose, as objects floating in stoner backgrounds of blue, like a morning without clouds, the figures are positioned on your screen as deities to be cult, creating totems on your altar, from which these figures are syncretic sources of religious confraternity of the Brotherhood of the Good Death Waterfall, recôncavo in Bahia. Even in the process the artist keeps his creativity before the images created through its research, even without giving up their ancestral beliefs the artist seeks to make the interaction with their culture through their perspective, but with deep analytical grade, as the festivities were brought from their home country, Portugal, which came to be adapted to our cultural miscegenation. registering the devotion of Our Lady of the Good Death community also began to have a social meaning, allowing the aggregation of slaves, providing the maintenance of their religiosity in a hostile and delimiting a corporate instrument of defense and the individual valuation environment, making If, for all these reasons, an unrivaled means of celebrating life in this questioning, dialogue with the work of the artist, whose conceptual development, social issues and ideological liberation. The artist was awarded the artistic residence in Sacatar on the island of Itaparica in Bahia, thus being able to have a closer contact with all these cultural identities, developing intimate, profound encounters with the local community in a long dialogue with the artist in all these conversations result in a co-creation in a deep longing for each individual on your desires, cultural impositions, thus realizing a significant cultural record our local culture and its development since its inception.
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Such objects float in the background. These objects coisam and desobjectam. No one at the bottom, believe in yourself. And no one objected for yourself. Everything goes. Go for yourself in through the outside. I leave the country as a jacket to float, but do not leave this island of veins, the language does not leave the language, my grandfather did not get out of my grandfather and the old and hoarse song does not leave the alert sound. But the human being out. It is an attention. Things finished as springs, explodescentes things. The names often do not have people inside. Hunger turned inside out inside out inside out, we all doomed to wonder of its organs, take the world tuned in the radio sound hunger and sleep. Nothing is guaranteed, nothing ends our interminabilidade. lighted flowers to the universe spring from our love. Never luxury born from the earth, everything rests in its natural thinness. If things are born of luxury nobody loved fiercely for they were born. The only painting that can live is not to think, not to find, which has inflatable doubt by the beholder. Everything rests after himself. The truth is back to the words, everything returns as Wonder inagarrável. Look at yourself in the mirror and see if you have a name, if any name clings to you sincerely. Everything quiets down and revolves insides. There is no one within our idea of being separated from the world, no one is this floating masks and stories ending and recommencing intermittently in and out of us. All titles of the paintings fall at the end of the floor name. Some light thing wakes up in a sincere and naked against breaking time of forms. It is an attention. Welcome to your body, welcome to your eyes, welcome to not knowing and being around for only a flower. Abensonhadamente.
They are objects floating in the blue backgrounds. These objects are, and cease to be objects. As a way in which no one at the bottom, he believes. Nobody objects for yourself
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Born April 9, 1981 in Feira de Santana Bahia
Lives and works in Salvador.
Visual artist from the museum’s art workshops Art MAM Bahia, majoring in Philosophy and History at the Catholic University of Salvador. It works with multiple media such as painting, photography, drawing, printmaking and installation. Having participated in several collective exhibitions and shows, both in Salvador and in Bahia and other Brazilian cities.
Formation:
– Coming from the MEM art workshops – Between 1997 and 2005
– Undergraduate in Philosophy and History at the Catholic University of Salvador UCSAL
Group Exhibitions:
2016 ArtConceito 524 moons book launch Almanac artists – Gallery Paulo Darzé -Salvador BA
2015 ArtConceito 524 moons – Xiss space – Salvador BA
2014 How to Remake the World – Gallery Luiz Fernando Landeiro – Salvador BA
2013 The Albatrosses Homes in Air – ACBEU Gallery – Salvador BA
2012 Circuit of Arts – ACBEU Gallery – Salvador BA
2010 X BIENNIAL Reconcavo – Cultural Center Dannemman – San Felix – BA
2010 Regional Hall – Cultural Camilo de Jesus Lima – Vitoria da Conquista BA
2010 Hall Regional Jequié – Cultural – Jequié BA
2010 Circuit of Arts – ICBA Gallery – Salvador BA
2010 SINAI XV National Hall of Itajaí – Itajaí SC
2010 Regional Hall of Feira de Santana – Cultural Amélia Amorim – Feira de Santana BA
2010 ARTCONCEITO 5 – ACBEU Gallery – Salvador BA
2010 Exhibition of the winners in the Regional Meetings 2009 – Solar Cultural Center Stinger – Salvador BA
2009 New Design – ACBEU Gallery – Salvador BA
2009 Regional Hall 2009 – Cultural Joao Gilberto – Juazeiro BA
2009 Regional Hall 2009 – Cultural Olivia Barradas – Valencia BA
2009 Circuit of Arts (Artconceito Group) Museum Carlos Costa Pinto – Salvador BA
2008 IX BIENNIAL Reconcavo – Cultural Center Dannemman – San Felix – BA
2008 Regional Hall 2008 – Cultural Camilo de Jesus Lima – Vitoria da Conquista BA
2008 ARTCONCEITO 4 – ACBEU Gallery – Salvador BA
2007 Circuit of Arts – ICBA – Salvador BA
2007 SE BA – Gallery Cultural Yázigi – Aracaju SE
2006 ARTCONCEITO 3 – Solar do Ferrao Gallery – Salvador BA
2006 4 x 40 – Concrete Art Gallery – Salvador BA
2006 ARTCONCEITO 2 – ACBEU Gallery – Salvador – BA
2005 ART FOR TODAY (arts hall) – ICBA – Salvador BA
2005 SIGNURBAN – BRASTROPC – Alliance Française – Salvador – BA
2005 ARTCONCEITO – ACBEU Gallery – Salvador – BA
2005 SSA 456 (A contemporary look at Salvador) – City Gallery Salvador – BA
2004 ART FOR SALE – ACBEU Gallery – Salvador – BA
2004 VII BIENNIAL Reconcavo – Cultural Center Dannemman – San Felix – BA
2004 joint exhibition to choreographers workshop in Brazil – Foyer TCA – Salvador BA
2003 Project Grace talent – Salvador BA
2003 Featured 2002 Museum of Modern Art Workshops of Bahia – MAM – Salvador BA
2002 Plastic Artists Baianos – FAOP – Ouro Preto
2002 Exhibition Ten X Two – Pierre Verger Gallery – Salvador BA
2000 Didactic exhibition of the course of extension of EBA – Sacred Art Museum – Salvador BA
Awards:
2010 X Biennial Reconcavo – Special Mention – San Felix – BA
2010 Regional Hall of Jequié – Cultural Foundation of the State of Bahia – Jequié BA
2009 Regional Exhibition of Valencia – Special Mention – Valencia BA
2004 VII Biennial Reconcavo – Prize Acquisition – Saint Felix – BA
Works in Collection:
Dannemman Cultural Center – San Felix – BA
Cultural Heritage Institute Art of Bahia IPAC – Salvador BA
Cultural Association Brazil United States ACBEU – Salvador BA
Published works:
Book: artconceito (524 Luas) – Publisher: P55 Edition
Eliezer Bezerra, in turn, puts us on the confusion and unrest. His work is certainly remarkable in its conceptual capacity. His landscapes in becoming value the detail as opposed to the imposing dimensions of the scenario that presents itself – its displacement is always due to traces, tracks and small references that point to the coming (becoming-imperceptible). The reference to painting intensifies a photograph of questions, making it hybridizes and therefore valuing formally.
Laius BishopThe deep landscapes regret: that which can flow in memory produce
It can be seen in the work of Eliezer Bezerra flows intense sorrow, fruit endless subjective movements that do not coalesce but, firstly, to render an open and spontaneously memory. So while movement and search, rebel-intimate body areas that appear unexpectedly in co-relation with the possibilities, producing thereby landscapes by certain deviations, is in line with becoming. Therefore, you see that in his work “the spirit breathe out the spirit.” (Artaud) so that the artistic and expressive failure, typical of contemporary repetitive waste, does not affect and is not present in the artist’s work.
The procedural care and appreciative relationship established in the development of their work and identify a lead viceralidade who is not disheartened by astound, but that is led by the delirium of being alone and be many. The media in this regard, express this dimension of anxiety. In this movement, establishing the creative act, it is necessary to the artist a philosophical attitude, a epoché, a non-exhaustive suspension, but strategic, which can gather characteristics that point to a significant solution of the work a befitting the material character with conceptual and artistic proposal. So therefore, the media used by the artist comes from an inner need to own work. Painting, photography and installation are presented as disinterested holders with / as to how and the technical criteria that do not surrender to academic espalhafatos.
In general, what it can be seen on the symptomatic working Eliezer Bezerra is your relationship with the permanent movement, expressed in its landscapes, an irreducible flow of memory that wanders between the suspensions of various objects, and walls; free unharmed walls of forced griefs and fetishists expressions. In short, a cartographic work that makes multiple aesthetic sobriety with force.
Laius BishopText taken from the book: Artconceito (524 moons)
The work of Eliezer Bezerra, in the exhibition “ArtConceito 524 moons” are allocated in various parts of the house – in contrast to Marco Antonio and André Lima, concentrated, each in an intimate room. This does not imply that there is not in them strongly affective character of memory and time, as well as clear link with their subjectivity and becoming. The artist, who studied philosophy certainly is familiar with the concepts developed by thinkers such as Heraclitus, Nietzsche, Bergson, Deleuze and Guattari. If, as for the last two cited philosophers, becoming it is the process of desire, to have access to his poetic passes intuit the dynamics of his desire, seen as something turbulence and fluctuations.
Artist with diverse work, fighter practicing passionately Brazilian jujitsu, big boy and smiling, who plays at being “cuddly dragon” – which recalls the “Critter Tomba”, almost mythical appearance, wandering the bizarre nights Fair Santana, where he was born – and the son of a musician, an expert listener musical interpretations – ranging from international mining metal band Sepultura to the icon “corny” Waldick Soriano – Eliezer demonstrates not only aesthetic concerns. A willingness to estrangement runs through all his works. Throughout the curatorial process in our many transfers by city, conversations with artists and visits to the exhibition site, it was a regular and we could surprise us with multiple joints of your desires.
We share with the artist a memory that stores road dust in puerile reminiscences of passages and absences. For those who were born in a country town, and from there went early, common situation to him and to us, curators – one Feirense as Eliezer, and other mining – there is a kind of twisting of time arteries, which halts the influx memories, which become partly lost or invented. At some level, we all developed a distortion and invention of our memories. imagination and forgetting processes are constituent parts of the act of remembering, they are linked to memory blurred boundaries between the built and the real. In the pictures of Eliezer landscapes – projected on the wall as headboard – realizes the flow of traffic memory images between Feira de Santana, a city that still left child, and Salvador, the city where adult lives. real and dreamed landscapes are mixed and are diluted in this dreamlike night in multiple exposures. In art, expressing the desire passes, perhaps, by a poetic attempt, through moving images, introduce becoming, with all the complexity Bergson time.
The applicants trips between his hometown and the city you live in, always seem full of desmemórias, transit is not completed by always perish on open roads in roads looking out over other directions. How can record images left houses never visited and that have only alleged memories. On this trip, the artist, is an eternal becoming a future tense more than imperfect. This conditional tense, which denotes desire is in his works. The head of the bed are images / torpor that invite everyone to close their eyes and imagine them in your own journey. Bed and landscape in transit are located in a doorway, open to poetry and dream on the banks of memory, whether referring to a memory of something that will not be there when we get there, or the place we live in us when permeated by this geography affects.
This curve geography affects and modifies boundaries to the indefinite. It seems to be the object of research of the artist, the measure imprecise boundaries, these twisted thresholds do not keep distances and thin in erasures, transience of things so accustomed to our time. Perhaps an attempt to face the anguish and the desire to return, manifested also in his engravings. Photographs pasted on the wall of the funds, the host of the yard, between layers and limbs also show borders intertwined and new twists space. The wall, which keeps the interior, almost wins windows, transparent, open to the world, however, are blurred. Extra or intramural intertwine in enigmatic landscape.
Thus seem to be the Eliezer travel by this inner geography. His process sometimes leads to the dive itself or the body of the flights that can fall and, temporarily, lose consciousness where you are. In a calendar Moon shows, it is drawn a circle where they will give a fight / performance art, which aims to enable a slip curve. In jujitsu there are scams control and submission. In the Brazilian version, on the floor with the strangulation techniques and pressure on joints, you can submit the opponent causing him to give up the competition, faint or break a joint. The fighter explains that this martial art, has always preferred to the strangulation joint sprains, to have more happy to see the time of the opponent’s reactions, their defense attempts, his fainting to a twisted joint. jujitsu Via, on the heels of the empty soul strangled in disputed fight over torn maps and without compasses, the artist seems compelled to continually return to their marginações broken. The Eliezer arts deal with the strangeness so necessary to the poetic. With its twists and bottlenecks are the twist of being.
Boldly, we can venture a parallel between Yves Klein, French artist internationally known, and the Bahian Eliezer Bezerra. The comparison is difficult, however relevant, raised by profundity of poetic demands on the artist’s process. Yves Klein, and creator of the International Klein Blue, was a master of martial arts and developed the famous photomontage “jump into the void,” the image of his body in flight into the void, with which Klein was referring to the stupidity of the lunar expeditions US American. These are issues that concern us as input in the work of Eliezer. Of course, the distance should be kept between one of the forerunners of contemporary art and our artist is great, for various reasons, whether for historic moment, either by a fight judo and other jujitsu, either by their life stories . While Klein comes from post-war Bezerra live day to day in the land of Macunaíma. Klein was one of the founders of New Realism and a pioneer in the development of performance while Eliezer lives an adverse cultural scene in a state that crawls in cultural policy. Discrepancies are natural to their historical moments.
But interest here, the nature of the body and its diving possibilities. The jujitsu to Eliezer perhaps it was judo for Klein in his smooth jump in the art. Lending the arrogance of metaphor contained in Klein’s photography, we can report to our stupid reality of widespread violence, in a way, Eliezer materializes in the border erase themselves and their self-image, in his absence, the return attempts at strangulation a blow friend. The imminence of the rapture – in the original sense, Greek, move, leave you – each one lives as he prefers or can. It is perhaps the pleasure hanging in the extreme that the mandrakes revenge around in blind flights and dives.
Klein created the vibrant IKB 63471 and Eliezer, in turn, only colors visible in the collapse. In the photos there is the idealized blue Klein but a remnant of inaccurate sky with potently indefinite colors. It is possible sky in transit between the possibility of a memory or another, where the color is the least interesting, because the erasures not left colors, only without belonging landscape blurs. Inaccurate color for continuous ambiguous returns. Perhaps the blue in the pictures is oxidized and no return. We could relate the faint blue of the sky or the twists between places with being his “leap in the dark”, experienced the final blow by the performer and martial artist. While Klein jump may refer to a possible simulation of return in Eliezer, the “jump” numbed delirium is the shifting border that touches the limit of itself, is related to the mythical flower of hanged.
The climax of colors not allowed, the leap to a “Sensitive Zone Pictorial Immaterial” just possibly is reached in the throttle stroke, which may terminate the time and his disturbing reminiscences – a semipermanent living in a home that always is seeking and which never arrives, or a place [not] desired that, even over the wall, only sees nothing. Strangulation time, and other things, is what we live today, the break is rare. Terminate the time, even briefly, it seems to have an urgency every time. In the aerial work of Klein, time seems suspended and Bezerra performance, in fact, for a moment, the time may cease. The “enigmatic” here is the reality of breath between life and death and the film passing this moment the artist and those watching their struggle with time. In hand-to-hand fighting with time, the senses are depleted, we do not know the intensity of the blue, everything fades to give new meaning, not for tinting the blue, but the eternal return to the search of a vanishing point and the escape of a point.Claudia can and Caetano Dias
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About my art.
My body is female and black, where art is an ideal pregnancy, conflicts and questions, that as I go in my evolving social context, I will give birth and telling others what is happening inside me. I am the developer channel processing products and characters of an imaginary universe, filled with signs and symbols of the african Brazilian cultural universe. I use texts, ritual scenes, and cultural practices as a source of inspiration.
I like to think I write on paper however, the third dimension, so my works are full of feelings, stories and memories in the form of masks, objects, paintings, collages and weaving. I knead, cut, paint, maple, weave, butchering, colon, sculpt, Prenso and sew until you reach the desired shape. In painting I try to play the rock art features with sandy textures and calcified, glued on paper and fabric, seeking new forms of narrative.
Chase also the idea of being able to reuse fragments of my daily life, scraps of chores and domestic consumption, to give life and color my characters. Some elements reproduce a kind of symbol that locate my current moment file, leave clues for understanding where I watch the scenes that time, space and time I meet.
My training permeates artistic processes in theater groups, dance, and livings in collective artists in Europe and in Bahia where I currently live. I am an actress expert Mascaras and Pantomime Theater, formed by the School of Arts in Berlin – Germany and Master in Cultural Management from the University of Basel – Switzerland.
Eva de Souza
Eva Silva de Souza Trochlser
Born on August 5, 1965 Salvador Bahia
1991-1994 School of Arts in Berlin Germany. Training Pantomime Theatre and Interpretation. Revalidation by the Federal University of Bahia in 2001.
1995 Berlin city Prize for performance- project Bumba meu Boi, with 150 participants in the carnival of Berlin culture.
1996 He worked as an actress for RTL television station in “Zorc – A man without borders”, in the role of Serena. Other performances as an actor in professional theater groups like Candy Rapid direction Carmen Luna – Spain; Mimi Crime of several German and Niksa Company Eterovic directors; All performances in Berlin.
He returned to Bahia in January 1997 and remained in sporadic activities in Germany.
1997 Professor at the vocational school of street musicians “Pracatum” Candeal. Savior.
1999 Artistic Director of the “House of Masks” cultural company and center of teaching artistic training for young people in Salvador. Produced masked performances in carnival Pelourinho- Salvador historical center and popular festivals of neighboring towns.
2000 Exhibition “Who’s Afraid of Grimace” with masks of his own in the Solar Ferrão Gallery IPAC- Institute of Artistic Heritage and Cultural Bahia.
2001 Individual exhibition in Brazil 500 years “Heimatklänge – Tempodroom” Project Berlin.
2002 Exhibition and production of the exhibition project “Masks of Bahia to Berlin” child’s Museum and the Berlin teenager.
He served in the Theatre Company Carlos Medina, resident Chilean director in Berlin Performance exotopy, with performances in Berlin, Amsterdam and Brussels.
2003 Solo exhibition “Amulet” in the mining Schwarze Pumpe Kraftwerk Gallery in Spremberg.
Germany.
2004 Group exhibition “Designate and scrap” the DRT company – Dismantling and Recycling household appliances in Vienna. Austria.
Stay in Switzerland 2005-2010
2005 – 2006 Singer in Part Musical “Show Boat” Municipal Theatre of Bern. Switzerland. 2007 – 2008 Master in Cultural Management at the University of Basel. Switzerland. Title: “MAS of Art Management”.
2007 – Specialization in Mediation and Moderation in intercultural contexts and inter-religious in Social Work School. Bern. Switzerland.
2008 – autonomous Vocational Education Art projects and public schools in Switzerland. These products are film, performance and exhibitions. Served to the International Cooperation Office. ARTLINK.
2008 Solo exhibition “Amulets and Masks” in the gallery of foreign UNION integration center.
Basel. Switzerland.
2009 Group exhibition at Gallery Katapult Basel. Switzerland. 2010 Group exhibition at Gallery Peripherie Bern. Switzerland.
Return to Bahia
autonomous artistic production professional.
2011 Individual Exhibition Masks and Myths in Kulturmühle Culture Center Lützelflüh – Switzerland.
2012 Exhibitions Mascaras Popular Myths I – Benin House Museum. Salvador Historical Center. 2015 Exhibition Mascaras Popular Myths II – the Protective Association of Underprivileged. Salvador Historical Center.
2016 Start of the representation by the gallery Luiz Fernando Landeiro – Salvador.
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Evandro Reis Soares born in 1979 in Piritiba Largo and is considered morrense since lived here since the age of two. And Hat Hill studied, played football, went through Youth, Jacuípe, Campinense, Morrense Union among others (started in kindergarten the teacher Jau), she participated in church groups and learned the locksmith profession. He lived in M. hat until 1999, receiving the invitation sister was living in Goiânia and there continued to work as a locksmith, the same office that played when he was in his homeland.
With work with iron, intuitively began to create artistic forms using solders, hammers and saws, often taking advantage of what would be despised, he started making ART.
Since the arrival in Goiânia was combining the locksmith work with the artistic creations, and over time it has been standing out in the local and regional art scene.
With the recognition happening today already artist Evandro Soares is dedicated full time to creating forms and sculptures.
Exhibitions and Awards
2012 – 11th Edition naïfs Biennial Brazil
2012 – 18th Hall Art Anapolino
2012 – Single Dating Mismatch in the Palace of Culture
2010 – International Circuit Brazil Creators
2009 – Art Museum of Britain-GO
2004 – Contest new values of Jaime Camera Foundation
2001 – SESI Competition Art and Creativity Sculpture Dimensional 1st place
2000 – SESI Competition Art and Creativity Paintings Abstract
The Evandro works occupy an adjacent space between drawing and sculpture, discussing the possibilities of each mode, from its concrete structures. The formal repertoire of his works, Evandro encounter in their daily office: are stairs, railings and other structures that inhabit our homes. But the use the artist makes these elements reach more general problems of art. The notion contained in these works about the design runs an arc that goes from the design to the graphic presentation of the concept. And there, in the presentation of these drawing / sculptures, an oscillation between presentation and representation playing in a maze of readings that only the art object with its field of paradoxes, enables
- Fernando Lindote
Plastic artist, self-taught, painting for more than 35 years. I have also started in elementary school, with his first hyper-realistic drawings. Living in a rural setting in Texeira de Freitas, southern Bahia, the absence of a painting school forced him to develop and learn his techniques at home through portraits and life studies in wood and fabric. He made his first exhibition in 1995, at the State University of Bahia, in Texeira de Freitas, and from 2000 onwards he began to travel and analyze techniques of hyperrealism, arriving at the techniques of vanishing and rebellion.
In addition to technical research, Irle Leal began to search through paintings of portraits of others, their textures, lights and composition of everyday life. In the last 15 years, he has developed a self-reflexive process about his Afro-descendant and rural Bahian identity and his liberating process as a person with special needs (at 14 months he had polio, also known as infantile paralysis), where his Artistic language generated works Of art and self-recognition, self-healing and self-liberation.
Each layer of ink represents something: it has layers of friendship, desire, overcoming … Art is everything to me. I wonder what would become of me without the art in my life. She’s my legs, let’s put it that way, in a figurative, literal way … I walk with my hands, right? Because I walk on crutches and what I do with my hands ends up running the world. They are fragments of me.
(Interview granted by the artist to the Jornal Diário do Pará, Notebook 4 of Revista Diário, 18/07/2010)
1996-99 Portrait and main muralist of the Landless Workers Movement (MST), national level
1998 Leal receives the “Fight for land” award from the MST.
2004-10 Aesthetic research and artistic production for 10 portraits of invisible women to create the series Across Others.
2004 Itaparica Island, at the collective exhibition ‘Paijazes do Brazil II’, La Gioconda Gallery, Guadalajara, Mexico.
2006 Outdoor girl, at the collective exhibition, Casa do Brasil Gallery, Madrid, Spain, at the International Arts Circuit.
2007 First four experimental portraits of Through the Others, exhibited in the Salon Arte Mosaico, National Meeting of the Brazilian Network of Arteducators, Juiz de Fora, Minas Gerais.
2006 Publication of “Praia de Itaparica”, Plastic Arts Yearbook, Volume V
2007 Leal begins research on Veladura, classic technique of the Renaissance. Repaint the 5 existing portraits of Through the Others with this new technique.
2010 Solo exhibition, Across The Others, Neuberg Art Gallery, Hong Kong.
2010 Solo exhibition, Through the Others, World Arts Festival, Theodoro Braga Gallery, at Centro Cultural de Pará (CENTUR), IDEA
2010 World Congress of Arts Education
2010 Solo Exhibition Through the Others, 2nd UNESCO World Conference on Arts Education, Seoul, South Korea.
2012 Solo exhibition of Through the Others, Arte Café, Capão de Canoa, RS
2012 Solo exhibition by the others, Gallery of the Latin American Committee, Porto Alegre, RS
Each of the paintings painted by the Bahian artist carries within himself a part of his life trajectory, which still dreams of painting his muse, which, as he himself says, “must live somewhere in the world in which I have not yet arrived.”
Maybe it’s just the gift, maybe it’s the result of everything he’s ever lived and continues to live. The fact is that his work has a disturbing truth. The perfection of each trait, the uncomfortable sensation of knowing that your eyes are being deceived, of knowing that it is ink and not photography. Redemption to delight in the sublime human capacity. Irley’s work is like this, no adjective is able to describe it accurately. The way to surrender is to know and appreciate.
Michelle Ribeiro, journalist, Bahia
2011
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The GIA (Group Environmental Interference) is a group of visual artists, designers, art educators and musicians have in common, beyond friendship, admiration for contemporary artistic languages and their plurality, specifically those related to art and public place. It can be said that group practices drank at the source of Conceptual Art, in which the status of the work of art is denied in favor of the process and often the ephemeral action. The GIA usually choose different areas of the city – whether public or private – to work, raising questions about the issue that permeates these spaces and the city as a whole. It is the symbiosis core between epolítico urban public space that operates the GIA: seeking, through their actions / interventions, make the city dwellers interact with their surroundings and reflect on the issues that permeate using as device the art and its contemporary languages hybridized . Within this hybridity, we can highlight the precariousness and randomness as some of the main characteristics of their artistic interventions.
GIA is art!
“Tell us: GI-A” … the appropriation of the famous work of Anna Bella Geiger is identified immediately. But what could be a simple breach of the original “BU-RO-CRA-CIA” by “GI-A” comes from a political act: the bureaucracy only spelled in the 70s gave way to democracy in action, interference and questioning that , you could say, characterizes the nascent XXI century in Brazil. Symbolically, the repressive context of Geiger’s work was won (fortunately!) The democratic context of the GIA. But we are far, far away, a fair Brazil … and the series “The Corruption” by popular posters, throw wide the unspeakable abuse of power in various spheres … symptomatically supported by Spelled bureaucracy in the 70s! If the chronological sequence of scandals since 2002 (when the group began to act) seems to reinforce the chronic misery of this fragile democracy supported by the certainty of impunity, it is possible that the series “Believe in your actions” offers an immediate way of revolt against impotence citizen. And in this perspective, it was a small disposable pamphlet now resizes as poster, comes, again, a crucial political act on these systematic apathy times, comfortable omission and manipulated disinformation. The poster is an object that deserves to be highlighted because calls to individual initiative – a guerrilla logic: believe in their actions because these perhaps may be ways to implode the flawed logic that comes from above.
The GIA is an artistic collective that works in the social, political, cultural and economic lives where, through actions that include objects and various records. It’s hard to look at this artistic production from the categories of works that come in most art galleries. Does not create contemplative objects; does not discuss such concepts as rhetorical exercise; does not build scripted situations; It does not propose technical virtuosity. First of all, the GIA promotes and critical reflection on what is there on the ordinary reality of our time. Denounces the absurd with the weapons of irony – without debauchery; disassembles authoritarianism by irreverence – no disrespect; challenges stupidity opposing wit – never ridicule.
Emphasizing that most of the group’s actions are carried out in public space, the show in this gallery can be read as transgression of the boundary between public and private and as invasion of uncoupled collective sense of exclusivity idea. The exhibition resizes the experience of “HQ” and “Samba GIA” among the various spatial instances promoted since its inception, not only through the records and objects presented here, but with the essential matter of the group: a (con) experience proposed by installing the “GIA Kitchen” upstairs gallery. Also a big “Snail” reconfigures the “cube-white” with this unpredictable event and the possibility of occupation featuring various snails that the group installed at different times and places, inside and outside Brazil.
Thus, this exhibition contains a wide path over twelve consecutive years of various actions of the GIA through posters, videos, photos and some of the objects used in the group’s work. There is an exhibition of conventional and consensual, but a defense of ethical and aesthetic dimension.
- Alejandra Muñoz
Helo natural Sanvoy of Goiânia-GO. He is majoring in Visual Arts degree by FAV / UFG. Member of Empreza Group (collective of artists dedicated to the study and performance of presentations) and Member of the Group Draw (collective of artists dedicated to the thoughts and practices about the design and the ramifications of this possibility in several fields of activity)
PRIZES:
2014
The poor canon – An Archaeology of precariousness in Art, Rio Grande Art Museum South / MARGS – Porto Alegre – RS
2012
18 HALL ARTS ANAPOLINO, acquisition prize – Gallery Antonio Sibasolly – Anapolis – GO.
11th SALON NATIONAL ARTS JATAÍ, honorable mention – MAC – Jataí – GO.
ART PARÁ – (Empreza Group) acquisition prize – Grand Prix – Para State Historical Museum (MHEP).
PRIZE YOUNG ART OF MATO GROSSO – (Empreza Group) acquisition prize of Instruction Palace – Pavilion of Arts.
2011
7 HALL OF PLASTIC ARTS SUZANO, acquisition prize – Suzano – SP.
20 TENDER SESI ART CREATIVITY, SESI – Goiania – GO.
EXHIBITIONS
2013
13 ° SALON NATIONAL ITAJAÍ ARTS, Home Konder – Itajai – SC.
12th SALON NATIONAL ARTS JATAÍ, honorable mention – MAC – Jataí – GO.
DIALOGUE DESIGN, University Museum of Art MUNA. Uberlândia – MG.
DIALOGUE DESIGN, Museum of Contemporary Art of Jataí – Jataí – GO.
2012
21 MEETING OF PLASTIC ARTS ATIBAIA – Convention Victor Brecheret Center. -Atibaia SP.
WHOLESALE SOUTH MATO ARTS HALL – MARCO Contemporary Art Museum of Mato Grosso do Sul – Campo Grande – MS.
BIENNIAL UNIVERSITY ART – BIENNIAL 1 – Area 104 – Belo Horizonte – MG
DIALECTS – MARCO Contemporary Art Museum of Mato Grosso do Sul – Campo Grande – MS.
DIALECTS – Art Gallery Frei Confaloni – Goiania – GO.
DIALECTS – Gallery Antonio Sibasolly – Anapolis – GO.
2011
41 ARTS HALL brand new – IBEU Gallery – Rio de Janeiro – RJ.
39 ART SALON CONTEMPORARY LUIZ Sacilotto – Home Look – Santo André – SP.
WILD BODY CHAOS SHOW AND EFFECT (Empreza Group) – Itaú Cultural – São Paulo – SP.
17 HALL ART ANAPOLINO – Gallery Antonio Sibasolly – Anapolis – GO.
Uncover, EXCHANGE OF CONTEMPORARY ART – Museum of the Republic – Brasilia – DF.
FAV NEW Unfinished – Gallery of the School of Visual Arts – Goiania – GO.
US AND OTHER POSSIBLE EUS: POETRY IN CONSTRUCTION – Gallery Antonio Sibasolly – Anapolis – GO.
US AND OTHER POSSIBLE EUS: POETRY IN CONSTRUCTION – Ido Gallery Finotti – Uberlândia – MG.
US AND OTHER POSSIBLE EUS: POETRY IN CONSTRUCTION – MAC – Jataí – GO.
2010
2nd HALL UNIVERSITY, CONTEMPORARY ART PRIZE SPACE PILOT – Gallery Space Pilot. Brasilia DF.
FINDINGS – Cathedral of Arts – Cultural Institute Noah Luis Mota – Goiania – GO.
RESIDENCE
2013 – WATER IN BEAN, Salvador – Bahia.
COLLECTIONS PUBLIC
MARGS – Museum of Rio Grande do Sul Art, Porto Alegre – RS
Cultural Center UFG, Goiânia – GO
Big House of Arts, Suzano – SP
Gallery Antonio Sibasolly, Anapolis – GO
Museum of Contemporary Art of Jataí – GO
The Helo Sanvoy jobs are produced with newspaper pages cropped and superimposed, deconstructing its narratives, emphasizing its communication structures as a vehicle for mass dissemination of news, views and social facts; provoke the emergence of other narratives by the viewer and bring the ideological debate about the role of the press in the contemporary world: by a manifestation channel side of freedom of thought and other means of manipulation of public opinion.
- Divino Sobral
Luiz Mauro was born in Goiânia, GO, in 1968, where it operates for about 30 years, as a visual artist and as a teacher of drawing at the School and Visual Arts Secult Goiás. Self-taught artist, committed to contemporary artistic trends since 1984 has participating and receiving awards in various salons in Goiás and other states. He received the following awards: Award at the I Salon of Contemporary Art of the Midwest (2011); CELG Award for Visual Arts (2003); Award Open Gallery, the 3rd National Biennial of Contemporary Art Museum of Goiás; Brasília Prize of Plastic Arts, Art Museum Brasilia, DF (1990); and the 1st Prize in the MAC of the National Biennial of Goiás (1988).
Individual
2003 Anima Angelus – Art gallery Reference, Brasilia-DF
1996 Funarte Gallery – BSB
1993 Macunaíma Gallery – Rio de Janeiro-RJ
1990 MAC – Goiania
collective
2013 Dialogue Design – Muna, Uberlândia-MG
2012 Mirror Reflected, Surrealism in Contemporary Brazilian Art – Cultural Center Hélio Oiticica – Rio de Janeiro-RJ
2011 Art Rio 2011 – Rio de Janeiro-RJ
Award at the I Salon of Contemporary Art of the Midwest. Cultural Center UFG, Goiânia
2010 Contemporary Art in the Collection of UFG – Cultural Center UFG
2008 SP Art, 4th edition, Bienal Pavilion, São Paulo-SP
2006 Unimultiplicidade – Art Gallery Frei Confaloni – Goiânia
2005 14th Salon Anapolino – Gallery Antonio Sibasolly Anapolis-GO
2003 CELG Award for Visual Arts, acquisition prize drawing Goiânia-GO
2002 Look Multiplied – Cultural Contemporary Venancio (ECCO) – Brasilia-DF
2001 III Mercosul Biennial – Porto Alegre-RS
2000 Trajectories and Profiles – MAC collection – Goiânia, GO
1997 “Brazil” Reflection 97 – Contemporary Art of Engraving, Curitiba-PR
Art-Brésil – Sursock Museum – Beirut-Lebanon
1994 Itaú Gallery (Leonardo Benjamin / Luiz Mauro), Brasilia
1993 Macunaíma Project – Rio de Janeiro-RJ
1991 BR 80 – Brazil Painting Decade 90- Itaú Gallery – Brasília / Goiânia-GO
1990 Brasilia Prize for Plastic Arts – Brasilia DF Art Museum (MAB)
1988 Award in the National Biennial – MAC – Goiânia, GO
Born July 13, 1979, in Minas Gerais, Brazil.
He lives and works in New York.
As a native of Sao Paulo, Brazil, I moved to Miami in 2010 to pursue a life as a full-time artist. Accepted as a resident artist at the Bakehouse Art Complex 2011-2012, I have developed my body of work, while taking part in numerous collective exhibitions and focused. Transforming the traditional application of my primary medium, watercolor, in a totally unique way, I am able to infuse the environment with contemporary vitality although my style and themes.
Mostly self-taught, he began painting at the age of 16. Four years later, I was living and studying at the Art Center. Before concentrating solely on my painting, I worked in design studios, advertising agencies and Macacolândia, an illustration studio co-founded with three friends.
Solo exhibitions
2010-24 Daldoce for Playboy illustrations, Pop Gallery, São Paulo, Brazil
Group exhibitions
2013 – World of Art Showcase, Raleigh Convention Center, Raleigh, NC
2012 – Art Miami Context (Basel Week), Cancio Contemporary, Miami, FL
2012 – World of Art Showcase, Wynn Hotel / Casino, Las Vegas, NV
2012 – Hunting-for-Bodies, Jorge Hulian Gallery, Miami, FL
2012 – portraitists, Rubem Robierb Gallery, Miami, FL
2011 – Tea Party 4BASEL, Rubem Robierb Gallery, Miami, FL
2011 – ME TOO: All the Same: Audrey Love Gallery, Miami, FL
2011 – Peepshow Poster: The Art of the Pin Up, Gallery Nucleus, Los Angeles, CA
2009 – Brazilianness Illustrated, European Institute of Design, São Paulo, Brazil
Publications
2008 12- Collaboration, Column Monthly Q & A, Playboy, Brazil
2008 – Collaboration, Journal Zupi, Brazil.
Articles and Interviews
2012 – Around Town Mag, Featured Artist August
2011 – Art Nouveau Mag Issue 4: Girls, Girls, Girls, April
2009 – Madnessofart.com, Master of the Three Ws April
WORLD OF AFFECTS AND PRIVACY
Marcelo Daldoce shows watercolor held on support treated with rhythmical folds throughout its length, paints female figures, although they are represented in two-dimensional space in some way relate to the three-dimensional space caused by the relief of the folded paper.
- Divino Sobral
Micah Gaugh born in Colon, Panama, has lived most of his adult life in the East Village, New York. Graduated in music at Carnegie Mellon University, Pittsburgh. It is the creator of the American band Puppet.
Your musical project is currently “Highrise” a ballet in which the protagonist is an artist who knows two women. One of the women is one artist to another woman is a businesswoman. Women are and both relationships are lost, but he won an art show in Paris. Music for Puppet band was released with the title of “Everything” by British label Accidental Records Matthew Herbert. Micah Gaugh has collaborated with Lady Kier of Dee-lite, John Zorn, G. Calvin Weston, Cecil Taylor, P-Funk Allstars, Bootsy Collins, Me’Shell N’degeocello, Earl Turbinton, Jeff Watts, Neil Caine, Burnt Sugar, Apollo Heights, Yohimbe Brothers, DJ Logic, Brandon Ross, Melvin Gibbs, JT Lewis, Thurston Moore, Jean Paul Bourelly, Bernard Wright, Junior Mac, J’neiro JAREL, Anti-Pop Consortium, Airborne audio, blank sheets, MF Doom . Cx Kidtronic, Mark Gilmore, Saul Williams, Billy Bang, David Murray, “Butch” Morris, Alex Blake, La frae Sci, Diego Cortez, Moreno Velloso, Citizen Cain, David Moraes, Ua, Driver Earth, Lauryn Hill, The Roots, Arto Lindsay band (2003-2008), Marc Ribot, James ‘Blood’ Ulmer, Melvin Gibbs, Vernon Reid and other musicians in studios and live performances. Micah Gaugh wrote two operas “Dr. Faustus Lights the Lights “and a piece for the artist Rirkrit Taravanija Featured ‘il Postino di Tiempo’, he wrote some songs and worked as an actor for the film by Matthew Barney” Di Lama Lamina “and a work entitled” Noise Mass “commissioned by Chiesa Rosa in Milan. James Iha (Smashing Pumpkins) made Micah Gaugh remixes to the songs, Ladytron and The Yeah, Yeah, Yeahs. Micah also served for five seasons in the television series “Fri in the City” worked as an actor in a play entitled “American Book of the Dead” and is currently working with Melvin Van Peebles in a musical version of “Sweet Sweetbacks Badass Song”. His current musical accomplishment is’ Highrise “, a ballet featuring Germaul Barnes (Alvin Ailey and Bill T. Jones), Jack Tracy (Classical Theatre of Harlem) and Laurie M. Taylor (Burnt Sugar scares James Brown Songbook).
Your current version is “The Blue Fairy Mermaid Princess”, the Italian label Africantape Records in March 2013.
Micah Gaugh recently exhibited in September 2011 in downtown Philadelphia’s Crane Artspace, the show Dialogo 365 an art exhibition sponsored by the Consulate of Venezuela, with a catalog edited for the Library of Congress. During the summer of 2011, he taught Jazz at Lincoln Center, in an educational program, representing the United States as Cultural Ambassador to Suriname.
Art exhibitions
Parco Gallery X (Japan) Spring 2014
Nippon Gallery 2014
Simultania Gallery (Strausbourg, France) 2013
Painted Bird (Philadelphia) 2013
Artsicle Online Gallery (New York) 2012
Anonymous Gallery (New York) 2012
Jose Castillo Gallery (Brooklyn, New York) 2013
Old Crane Arts (Philadelphia) 2012
Crane Arts Gallery (Philadelphia) 2012
Di Lali Lamina (Bahia Carnival / Moma / PS1) 2004/2011/2013
Il Postino Di Time (Manchester) 2011
Thomas Jackal Gallery (New York) 1998
Whitmey Biennial (New York) 1997
Barbara Gladstone Gallery (New York) 1996
Exit Art 1995
Visual artist. He is a professor and researcher of the photographic device, currently develops project addressing reframing of external media supports (billboards). Master in Visual Arts from the Faculty of Fine Arts of Bahia (UFBA-EBA)
REACTION TO THE CONSUMPTION OF WORLD
Photographs of billboards Periclean Mendes affirm the power of documentary language while seeking to deny the printed advertising aesthetics in large billboards, which take wildly and pollute the landscapes of cities standardizing the advantages of certain consumption; so his works seek to clear the landscape and empty illusions mounted by capitalism seduction devices.
- Divino Sobral
Raul Zito’s dynamic works bring attention to the vibrancy and resilience of those who live on the edge of social, economic and cultural security. His large-scale street art generates vitality for Brazil’s more vulnerable communities, and in doing so, voices demands for social equity and change. His inspiring social documentary photography and videography, his energetic audio-visual and performance collaborations, and his stunning sculptural installations cross between the elegant, the sophisticated, and the edgy. This tension of combining action and sensibility, expresses a professional maturity that few artists can articulate so well. Bringing street art, photography, and cultural activities together, Zito’s work strengthens, educates and integrates the political and the aesthetic – to jolt the viewer out of inertia, and imbue creative meaning in context. His strong artistic responses to his involvement with the world, both attract and contribute to the peoples and places he works with, to fortify communities, and offer unconventional creative experiences for us all
- Lea Rekow
- Luiz Fernando Landeiro
Sergio Helle develops a work that combines the newest digital tools with traditional drawing and painting techniques. With 25 years of career, he was one of the first artists from Ceará to use the computer as an artistic tool, and held still in 1995, his first exhibition in which he participated with infogravuras. With Passion engraving, won the Award Engraving April Hall in 2001. On it, records Herbert Rolim, in the Hall April book – From home to the world’s world home: “It was the first case of infogravura, which appears in the records of April Salon, recognized as a category. “With this work, the artist was invited to participate in the III Mercosul Biennial that same year.
MAJOR EXHIBITIONS
FORTRESS, BRASILIA, PORTO ALEGRE AND HAVANA
UNIFOR PLASTIC “YEAR X” / V / VI / VII / VIII / X / XII / XIII / XIV / XV / XVI – Cultural Area Unifor 1983/1984/1985/1986/1987/1989/1991/2005/2007/2009 / 2011
III BIENNIAL MERCOSUR – Santander Cultural Porto Alegre-RS 2001
III BIENNIAL MERCOSUR – Conjunto Cultural Caixa Econômica Federal Brasília-DF 2002
KALEIDOSCOPE – Gallery Vicente Leite 2008
APRIL HALL – From home to the world. World home – Museum of Contemporary Art – Dragão do Mar Center of Art and Culture 2011
INDIVIDUAL EXHIBITIONS – FORTRESS / CURITIBA
DREAMS – Life Festival and Art – Convention Center 2005
FOLDS MOLES – Oboe Cultural Center 2005
ACQUA – Exhibition and book launch of ACQUA – Mariana Furlani Gallery 2010
PROFILE CEARENSE – Cultural Legislative Assembly of Ceará 2013
ACQUA – Exhibition and book launch of INFOGRAVURAS – Zilda Gallery Fraletti – Curitiba 2013
FRAGMENTS – Gallery Mariana Furlani – Fortaleza 2014
ACQUA – Gallery Luiz Fernando Landeiro – Salvador 2015
Sergio Helle lives and works in Fortaleza, Ceará.
Develops a work that combines the newest digital tools with traditional drawing and painting techniques. With 25 years of career, he was one of the first artists from Ceará to use the computer as an artistic tool.
“Sergio Helle is not only a user of the technology available in his time. It is much more. He dives into the technology and expands, extending the possibility of its artistic use.His work, in fact, contains everything that could be a symptom of postmodernity because, besides being a postmodern artist, he participates in the construction of his time. Helle is your time. “
- Roberto Galvão - Membro da Associação Brasileira de Críticos de Arte (ABCA).
Individual
Award Residence Artistic FAAP – SP (2012)
Notice Funarte bag of artistic creation stimulus in visual arts (2010-2011)
Tuti Va Bene -10 years – ACBEU Gallery – BA (2010) Busy – French Alliance Gallery – BA (2009) This Cata – Catholic University – BA (2000)
Performances
Computer bodies – Brasilia – DF (2010)
Soterópolis program – IRDEB / TVE – BA (2010)
Collective Bone – BA (2009/2010)
FIAC – Lounge Hi Future / Cabaret – BA (2009)
V Seminar on Cinema and Audiovisual TCA – BA (2009)
VI Biennial UNE – BA (2009)
IV Seminar on Cinema and Audiovisual TCA – BA (2008)
Short People of Penca (Participation) – BA (2008) III Film and Audiovisual TCA – BA (2007)
Collective
2012
Exposure: new- ACBEU Sculpture Gallery – BA
FHUBA – Bahia Humor Festival – BA
Circuit of Art – Museum Carlos Costa Pinto – BA
Performance Show: The Performer and its image – Gallery Canizares
2011
Performance shows: open body, closed body. (Canizares Gallery – EBA)
Shows M.O.L.A Latin American Bone Performance Halls Regional Bahia Visual Arts (FUNCEB)
Other years
Notebook Video Brazil 6 – (2010)
12 ° Hall of Santa Catarina – (2010)
Circuit of Arts – Goethe Institut – BA (2010) AAI-Curator Marilia Palmeira – BA (2010)
Collective Atelier POINT VISIO – BA (2010, 2011 and 2012) Circuit of Arts – Gallery French Alliance – BA (2009) Circuit of Arts Goethe Institut – BA (2008) Tasting – Council Gallery – BA (2008)
News Now – French Alliance Gallery – BA (2007) Between Centers – ICEA Gallery – BA (2007)
Visualities – Shed Santa Luzia – BA (2004)
Street Hey – Baiano Art Room – BA (2003)
Paper and Office – Baiano Art Room – BA (2003) Exhibition Workshops Highlight MAM – BA (2002)
Balaio Cult – Pelourinho – BA (2001)
In 1968, during the busy year of the troubled 1960s, the North American Lawrence Weiner – now a respected and historic artist 70 years – made the following formulation of the relationship between ideas, art and language, “the artist may construct the work / the work can be made / the work can not be built – each of these actions is consistent with the intentions of the artist, the decision as to do, so the conditions are with the work receiver at the time of reception. ” Under these almost Buddhist sentences in its mystery, if explicit desire Weiner: change the nature of the art object, which can be also a sculpture made of words, a phrase that goes through the minds of those who pity turning into many things and that there is, in fact, already when it is imagined.
A decade ago (includes his early youth) Tuti Minervino has imagined the streets of Salvador, between friends or strangers in your home – studio or on sheets of paper into organized notebooks according to the logic and the artist’s intentions.
Its production is divided by objects, performances and a succession of difficult classification actions. And there are phrases – as well as in the tradition of Weiner, words that are sculptures, can be performed or not, is a decision of both the artist and the public. These works both finals, and “potential”. After imagined, they go through the experience of performing in the world, changing, although the words have, may have, depending on the situation, the intention of the imagination.
So, in this game of thinking and doing, in which the words and their sounds are small parts with which Tuti realizes his intense construction, each project needs a name, just as the body needs shade to be reminded of the existence under the sun. Each syllable, rhyme and phrase carries its sense objects, while the word against those same objects acquired another meaning. The same for the works on power status, instructions may exist, “Go to Japan, feel Japan, Tokyo” as displays in Minervino.
Imagine the relationship between names and their objects can be a nice gateway to approach the work and the relationships that Tuti Minervino has with the time, space, people, words, and many things. There is grace, melancholy, funny and anguish in his art fueled by phrases and names in their bold, unexpected and extremely powerful way to present the viewer a reality with altered senses, transformed, unexpected.
- Marcelo Rezende
… It’s hard to know whether the search for the unusual is a suggestion to possible viewer or simply a way of dealing with things, people and situations of life.
The fruitful Tuti is in objects, performances, photographs, installations, instaurations, literature, but also in speaking of way, costumes and a special way of being.
For the artist the function of things is according to the demands of life and the dynamics that makes us feel more alive, regardless of the actual order of things, determined by the constituted power of apathy and sameness that sometimes insists on bother, and which we intend to rebel.
- Ayrson Heráclito
Tuti Minervino is a performance artist who has been working in the city of Salvador, Bahia, using open spaces in the city, gallery and museums. Tuti has sought to reflect in his work on urban sign elements, mixing street images to an imaginary that has been built through the electronic media with quality and architectural uniqueness.
- Prof. Dr. Roaleno Ribeiro Costa
Graduated in Graphic Design and Masters in Contemporary Poetics at the University of Brasília – UnB. He works mainly with drawing and since 2008 he has participated in exhibitions in several cities in Brazil. In 2011 he was selected to participate in the Rumos do Itaú Cultural project. In 2012 he was first in the EDP Prize in the Arts of the Institute Tomie Ohtake, also in the same year he had his book Maybe the World Do not Be Small published by A Bubha Editora. In 2013 he held two solo exhibitions, one at Banff Center in Canada and another at Funarte headquarters in Brasilia. In 2014 he was nominated for the second time to the Pipa Investidor de Arte Award. He is one of the founding partners of Espaço Laje, in Brasilia.
Individual exhibitions
2013 Absent Present, curated by Paulo Miyada. Fayga Ostrower Gallery – Funarte, Brasília.
2013 The White Crash. The Banff Center, Banff (Canada).
2012 Everything Wants to Be, curated and conception Leno Veras and Virgílio Neto. Space Laje, Brasília.
2011 Dialogue. Museum of Contemporary Art of Mato Grosso do Sul – MARCO, Campo Grande.
Main Collective Exhibitions
2013
Triangulations. Brasilia, Salvador and Recife.
Our Design Exhibition, curated by Polyanna Morgana. CAL – Latin American House,
Brasília.
64th Hall of April. Sobrado Dr. José Lourenço, Fortaleza.
Unlikely Dating. Space Scene, Brasília.
The Moon in the Pocket, curator Raphael Fonseca. Largo das Artes, Rio de Janeiro.
Two Years of Paving. Space Pilot Gallery – UnB, Brasilia.
Narrative Situations, curator Marcus Lontra. Gallery Collection of Art, Rio de Janeiro
2012
Rumos Artes Visuais 2011-2013, curator Agnaldo Farias, Instituto Itaú Cultural, São Paulo.
New Languages. Reference Gallery, Brasília.
Other Visible Things About Paper, curated by Paulo Myiada. Leme Gallery, São Paulo.
3rd EDP Award in the Arts. Tomie Ohtake Institute, São Paulo.
Gambiarra, Espaço Piloto Gallery – UnB, Brasília.
11th National Salon of Art of Jataí. MAC – Museum of Contemporary Art, Jataí.
Centerfolder, curator Ralph Gehre, Art Gallery Reference, Brasília.
Habilitation / Residence, curator Matias Monteiro. Hill House, Brasília.
Dialects, curated by Paulo Henrique Silva. Museum of Contemporary Art of Mato Grosso
Of the South – MARCO, Campo Grande.
MAB: Dialogues of the Residence, National Museum of the Republic, Brasília.
2011
Imbalances and Imperfections, curator Marcus Lontra. Gallery Collection of Art, Rio de
January.
Fake Doodles. Bookstore The Bubble, Rio de Janeiro.
17th Art Hall of Anapolino. Antônio Sibasolly Gallery, Anápolis.
Art hall Brand new. Ibeu Art Gallery, Rio de Janeiro.
Of the Plans That Fly, Curator Suzzana Magalhães. Espaço Cultural Zumbi dos Palmares,
Brasília.
17th Unamá Small Formats Exhibition. Gallery Graça Landeira, Belém.
1st Central-West Contemporary Art Fair. Cultural Space UFG, Goiânia.
Disobedient gaze, curator Matias Monteiro. Galeria Parangolé – Espaço Cultural 508,
Brasília.
2010
Fresh Produce 2010. Anno Domini Gallery, San Jose (United States).
Open Gallery. Brick Lane, London (England).
To the Winds That Will Come, curator Fernando Cocchiarale and Karla Osório Netto. Space
Cultural Contemporary – Ecco, Brasilia.
Contemporary Occupation Project, curator Marcus Lontra, Reference Art Gallery,
Brasília.
2009
Fresh Produce 2009. Anno Domini Gallery, San Jose (United States).
Collective 2009. Andrea Mendes Gallery, Brasília.
9th Yacht Club Arts Show, Yacht Club, Brasília.
To intervene. Object Found Gallery, Brasilia.
Drawing books, curators Ralph Gehre, Hill House, Brasília.
2008
FAM – International Festival of Art and Media. Gallery UnB, Brasília.
Others. Object Found Gallery, Brasilia.
Figuration. Alliance Française, Salvador.
Opening. RV Culture and Art Gallery, Salvador.
Awards & Reviews
2014 Pipa Investor Art Award – Indication.
2013 Occupation Funarte Arte Contemporânea Award. Brasilia DF.
2013 Pipa Investor of Art Award – Indication.
2012 EDP in the Arts, Tomie Ohtake Institute, São Paulo. 1st place.
2012 11th National Salon of Art of Jataí, Museum of Contemporary Art, Jataí – Reference
Special Jury.
2011 17th Anapolino Art Exhibition. Galeria Antônio Sibasolly, Anápolis – Acquisition prize,
1st place.
News & Events
2013 Absent Present, Paulo Miyada and Virgílio Neto. Editing by Author, Brasília.
2013 Non-Distant Interactions, org. Christus Nobrega. Publisher University of Brasilia,
Brasília.
2012 Maybe the World Will not Be Small, Virgílio Neto. The Bolha Editora, Rio de Janeiro.
Residences
2013 The Banff Center, Banff, Canada.
2012 Artistic Extension Center, Cruzeiro do Sul.
Address: Rua da Paciência, 227, Rio Vermelho - Salvador, Bahia
+55 71 3035-4154