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DANIEL CANOGAR
Banco do Brasil apresenta e patrocina JULIA CASTAGNO
PETAH COYNE
DANIEL SENISE
SONG DONG
TARA DONOVAN
DOUGLAS COUPLAND
JOANA VASCONCELOS
MICHAEL SAILSTORFER
DANIEL ROZIN
PEDRO REYES
RYAN GANDER
MICHELANGELO PISTOLETTO
LORENZO DURANTINI
O olhar humano busca pela beleza por o seu brilho. Em Vamos Dar um Tempo,
intuição, mesmo que o contexto seja como em muitos de seus trabalhos, a
adverso. A capacidade de se encantar aproximação do visitante revela o caráter
com os atributos físicos de um objeto é cortante do material utilizado – em
tão natural quanto é cultural o impulso contraste com a forma, aparentemente,
contrário, ao se observar aquilo que inofensiva de uma banheira. Criada em
é tido, socialmente, como sinistro. As uma família de doze irmãos mais velhos,
fronteiras entre esses territórios, porém, Tayeba, desde menina, acompanhou de
não são claras. Voltar-se para essa zona perto as agruras dos partos caseiros e
franca é sugerir uma desconstrução dos cuidados com as crianças pequenas,
cultural, recuperando o olhar inexperiente à medida que as famílias dos irmãos
de criança. Com o universo feminino no aumentavam. Desse contexto vêm os
centro de seu trabalho, Tayeba Begum materiais utilizados em sua obra e cuja
Lipi sugere situações de sofrimento beleza lhe encantou naquele período. Seu
com o uso expressivo de objetos olhar de mulher nas relações amorosas
como lâminas de barbear e alfinetes. se vê permeado por essa experiência,
Reluzentes, eles aparecem em sua obra lançando-se à dubiedade para a produção
de forma visualmente atraente, em todo de sentidos.
TAYEBA
BEGUM LIPI
Bangladesh
Let’s Take a Break
2013
Stainless steel razor blades, stainless steel sheet and water
The human eye intuitively seeks beauty, in all their sheen. In Let’s Take a Break,
even when the context may be adverse. as in many of her works, as the visitor
The capacity for delight in the physical comes closer, the knifelike nature of the
attributes of an object is as natural material is revealed, contrasting with the
as the opposite impulse is cultural seemingly inoffensive form of the bathtub.
– the eye trained to refute the visual Brought up in a family with twelve
enjoyment of what is socially held to older siblings, Tayeba, since childhood,
be sinister. The boundaries between observed up-close the difficulties of home
these territories, however, are unclear. births and the care of small children as
To address this “no man’s land” is to her siblings’ families grew. From this
suggest a deconstruction of the cultural, context come the materials used in her
to recover the inexperienced viewpoint of work, the beauty of which captivated her
a child. With the feminine universe at the at the time. Her woman’s perspective
center of her work, Tayeba Begum Lipi regarding romantic relationships is
alludes to situations of suffering through permeated by this experience, and is
the expressive use of objects such as impelled toward dubiousness in the
razor blades and pins. Scintillating, they production of meanings.
appear in her work as visually attractive
TAY
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DAN
DANIEL
CANOGAR
Spain
Small Data
2014
Discarded circuit boards, wood, projector, multimedia player
In a culture of excess, refuse does not In Model for Survival, Julia Castagno gives
arouse attention. Some objects, however, shape to the insignificant. Toothpicks
are more disposable than others. Simple, compose themselves as an organic
cheap items that are always presented structure, rudimentary if seen up-close,
in large quantities – paper clips, pins, but stable in the individual linkages. Their
matches, toothpicks – may be discarded massive and delicate presence is born
even before being used. If there were of reiteration and surpasses the human
a hierarchical list of everything that is scale. The flexible construction proves
produced, these objects would be at the unpredictable in its multiplication: there
bottom – what is most accessible is also is a shift of meaning in its existence
the most worthless. When considered as toothpicks, a veritable escalation of
as material, however, this banality is power. To survive, it is necessary to be
converted into a trump. Using what is transformed, to seek value in collective
easy and abundant, the experiment is action – an allusion to the very struggle of
launched, the net is cast for possibilities. the individual to exist in society.
JU
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PETAH
COYNE
Estados Unidos
Sem Título #720 (Fantasma de Eguchi)
1992 – 2007
Fio de aço inoxidável, fio de latão, fio de fósforo, aço, arame, arame de cerca de galinha, cabo, porcas de cabo,
canos de PVC, plástico, papel toalha, chifon, linha, Velcro, rosca infinita, ganchos e corrente de aço
Para que a renovação tenha espaço, artista para ser desfiado à espessura de
é preciso abandonar a forma antiga, fios de cabelo. A técnica é utilizada para
abrir mão do que nela há de bom e de viabilizar o reaproveitamento de metais
ruim. Entre esse desaparecimento e de antigos carros – transformados em
o nascimento que está por vir surge a fios, eles são destinados a países como a
sensação de ausência, que nenhuma China, de onde voltam como insumo para
promessa ou projeção é capaz de a indústria automobilística americana.
neutralizar. O processo de reciclagem de Em sua grandiosidade, esse processo
objetos de grande porte, por exemplo, de reciclagem canibal foi interrompido
pode ser um espetáculo para se admirar por Coyne. No momento em que seu
ou se horrorizar, como sugere Petah trailer já não mais existia, captou seus
Coyne: há algo grandioso que existiu restos emaranhados para, a partir
e que não mais está presente. Os fios dele, dar forma ao fantasma de Eguchi,
metálicos dos quais a obra é feita são personagem de um livro japonês que vivia
provenientes de um trailer de estilo motor entre o sonho e a vigília. Com sua forma
home, um reluzente modelo original dos sem contorno nem lugar, permitiu criar
anos de 1950 escolhido pela própria um outro estágio de existência.
PET
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PETAH
COYNE
United States
Untitled #720 (Eguchi’s Ghost)
1992 – 2007
Stainless-steel wire, brass wire, phosphorus wire, steel, wire, chicken-wire fencing, cable, cable nuts, PVC pipe, plastic,
paper towels, chiffon, thread, Velcro, jaw-to-jaw swivel, shackles, 3/8” 30 proof coil chain
To make space for renewal, the old form technique is used to make the recycling of
must be abandoned. Whatever it holds of metals in old cars feasible: transformed
good or of bad must be let go. Between into shreds, they are destined to countries
this disappearance and the coming birth, such as China from where they return as
there emerges a sensation of absence raw material for the American automobile
that no promise or projection is able industry. A grandiose project as a whole,
to neutralize. The process of recycling this cannibalistic recycling process was
very large objects, for example, can be interrupted by Coyne. At the point in
a spectacle that causes admiration or which her trailer no longer existed, she
that horrifies, as Petah Coyne suggests. intercepted its tangled remains and
Something enormous existed, but is no used them to form the ghost of Eguchi,
more. The metal strands from which the a character from a Japanese book who
work is made come from an Airstream lives somewhere between dream and
trailer, a gleaming original model from wakefulness. A form with neither boundary
the 1950s chosen by the artist herself to nor place, it was possible to create another
be shredded finely like hair strands. The stage of being.
DANIEL
SENISE
Brasil
O Sol me ensinou que a história não é tão importante
2010 – 2014
Catálogos de arte, convites, gesso e cola branca
Tudo o que é natural se transforma. tira seu título de uma frase de Albert
Rochas mudam com a ação do vento, Camus que opõe as forças da natureza
elementos químicos sofrem novas às da cultura. Na instalação, as placas
combinações, pessoas envelhecem e que delimitam o ambiente vazio são
alteram seu olhar – a natureza cumpre produzidas a partir de convites e
seu ciclo. Muitas vezes, o elemento catálogos de exposições, material
original é completamente apagado, mas acumulado e reciclado pessoalmente
o novo carrega em si uma memória da pelo artista. Ao olhar de perto, as peças
transformação. Quando enxergamos uniformes revelam fragmentos dos
esse traço, passado e presente se impressos que lhe serviram de base.
tornam, magicamente, simultâneos. Trechos de frases e nomes rasgados ao
O reciclado tem em seu processo de meio testemunham, quase por acidente,
criação um mistério: a mesma matéria, a forma já ausente. Não servem
um novo corpo e sentido. O uso de mais para comunicar informações,
materiais “vividos”, que remetam a argumentos e elucubrações.
outros contextos, é frequente na obra São dedicadas a ser simplesmente
de Daniel Senise. O Sol me ensinou visíveis e palpáveis, e a perecer como
que a história não é tão importante todo o resto.
E I S
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DANIEL
SENISE
Brazil
The Sun taught me that history is not that important
2010 – 2014
Art catalogs, invitations, plaster and white glue
Everything that is natural undergoes important takes its title from a phrase
transformation. Rocks change with the by Albert Camus that places the forces
action of the wind, chemical elements of nature and culture in opposition. In
enter into new combinations, people age the installation, the blocks that delimit
and change their way of seeing. Nature the empty environment are produced
carries out its cycle. Often the original from exhibition invitations and catalogs,
element is completely erased, but the material accumulated and recycled
new bears in itself a memory of the personally by the artist. When examined
transformation. When we recognize this up-close, the uniform elements reveal
trait, past and present find themselves fragments of the printed materials
magically simultaneous. In the creative from which they were made. Parts of
process, what has been recycled holds sentences and names torn in half bear
a mystery: the material is the same, witness, almost by accident, to the now
but the body and meaning are new. absent form. They no longer serve to
The use of “experienced” materials communicate information, arguments,
that point to other contexts is frequent musings. They are devoted simply to
in the work of Daniel Senise. The Sun being visible and palpable, and to
taught me that history is not that perishing like everything else.
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SONG
DONG
China
Eating the City
2006 – 2014
Cookies and candies
Industrial production has revolutionized carried away by desire. The work generates
access to consumer goods. Standardized, a comment on the massive growth of
they are produced mechanically and at cities, especially in Asia, where ancestral
high speed – as opposed to artisanal characteristics are destroyed to make way
methods. The time spent in creating for new facilities, exactly like those in cities
goods has decreased, as has their everywhere. Just as swift as construction
market value. At this point, it is already with its standardized modules and heady
clear what is gained and what is lost resources, so urban characteristics
in this substitution: access versus disappear under the blows of a wrecking
individualization, quantity versus quality. ball – or bite by bite. The mirror and the
Song Dong proposes the fulfillment of skyscraper in the concrete city, the sugar
a childhood dream: using cookies and and the colorful confection in the case
other industrialized sweets, he builds of the city made of sweets: speeded-up
a miniature of Belo Horizonte. When production for unthinking consumption. In
finished, he summons the spectators to both cases, the result is similar: fleeting
action, to devour it, letting themselves be pleasure and a sense of emptiness.
SONG
DONG
China
Comendo a Cidade
2006 – 2014
Biscoitos e balas
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DONG
TARA
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TARA
DONOVAN
Estados Unidos
Sem título (Copos de Plástico)
2006
700 mil copos plásticos
Tudo o que há sobre a Terra pode ser milhares de unidades de copos acaba
visto como recurso ou matéria-prima por fazê-los transcender. Todos juntos
para produzir algo. Muitos elementos já e dispostos como estão, superam o
possuem funcionalidade determinada seu valor de uso e tornam secundário
pelo homem, razão mesma de sua o exagero da quantidade. Frente à
criação. O trabalho plástico sobre esses obra, o movimento do espectador ativa
objetos, por sua vez, tem em si uma a interação entre a luz e o material. É
camada a mais de ilusão se comparado ele quem cria o efeito de cor branca,
a produções feitas a partir de materiais característica física que adere ao
virgens. O deslocamento do objeto se horizonte de copos. A tranquilidade
faz visível apenas em um segundo olhar transmitida pela obra, orgânica em
– o impacto visual vem à sua frente. A suas ondulações e etérea em sua luz
paisagem de copos de plástico criada difusa, produz um encantamento típico
por Tara Donovan prende a atenção dos cenários naturais. Não há mais
pela sensação de amplitude. A ausência espaço para a visão do sintético: tudo se
de cor, marca dos trabalhos da artista, transmuta em uma outra matéria, única,
caracteriza o ambiente; e a junção de que compõe o trabalho final.
TARA
DONOVAN
United States
Untitled (Plastic Cups)
2006
700 thousand plastic cups
Everything on earth can be seen as a cups has the effect of bringing about their
resource, raw material for producing transcendence. All together and arranged
something. Many elements have a as they are, they surpass their use-value
functionality predetermined by man, the and the quantitative exaggeration. While
reason why they were created. Artistic observing the work, the spectator’s
work with these objects, in turn, brings an movement activates the interaction
additional layer of illusion if compared to between the light and the material. This is
productions made from virgin materials. what creates the effect of white, a physical
The displacement of the object becomes characteristic that adheres to the horizon
visible only at second glance, since the of cups itself. The tranquility conveyed
visual impact comes beforehand. The by the work, organic in its undulations
landscape of plastic cups created by Tara and ethereal in its diffuse light, produces
Donovan holds the attention through the kind of spell that is typical of natural
the sense of vastness. The absence scenes. There is no longer a place
of color, a mark of the artist’s work, for seeing the synthetic: everything is
characterizes the ambiance, and the transmuted into another material, which
conjunction of thousands of individual composes the final work.
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MICHELANGELO
PISTOLETTO
Itália
O Terceiro Paraíso
2003 – 2014
Sucata metálica
A symbolic gesture can change the world. Michelangelo Pistoletto, has been repeated
It can initiate reflection on the consumerist on all five continents in actions carried
logic that has separated man from the out by volunteers for the Third Paradise
natural universe. It can be a starting project. The concept developed by the
point that gives rise to a new era. An artist is based on personal investment in a
artistic project’s power of contamination, third form of life on the planet, in which the
of consciousness-raising for the cause it natural sphere (the first paradise) and the
defends, can call attention to the root of the artificial (the second paradise) make way
current human crisis. Utopia or not, why not for the creation of a third, in which there is
join in with the proposal to disseminate it? equilibrium between these two realms. By
Precisely in Minas Gerais — territory where reproducing the symbol, which suggests an
iron ore has always played an important role amplified territory of union between the self
in the economy — an array of scrap metal and the other, anyone can join the cause
proposes a paradigm shift. Discarded metal and the work, defined by Pistoletto as a form
parts are juxtaposed to create a new version of spiritual art — founded equally on liberty
of the infinity symbol. The shape, created by and on social responsibility.
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LORENZO
DURANTINI
Itália
2.216 Fitas VHS
2010 – 2014
2.216 fitas de video VHS
With audiovisual technology came the been accessed. Lorenzo Durantini focuses
sensation of being able to apprehend on precisely this vast quantity of media,
life: what is recorded and saved to how it ages and rapidly becomes useless.
file is possessed. From VHS cameras In performance, he unlocks, one by one,
forward, this power of retention became the magnetic strip of those 2,216 VHS
popular and the tapes proliferated in tapes that give the work its name, freeing
unprecedented progression. The relatively them to fly ungoverned through space. No
rapid obsolescence of media and the longer are they a memory of birthdays,
uninterrupted sequence of substitutions, graduations or TV shows that were set
on the other hand, create the feeling that aside. In a dance of relief, they unroll their
something – or a lot – gets lost along the standard length in cadence until they have
way. Records of lived emotions vanish in depleted themselves, creating an inert
media that can no longer be accessed tangle. There are no solemn farewells for a
– even though, probably, they had never cloistered past: instead, a visual explosion.
LO
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RYAN
GANDER
Inglaterra
O Empurrão de Sansão, ou Composição
2011
35 mesas e aço
There are creations where it is almost layers of meaning. The work’s title already
impossible to identify the elements suggests the intersection of two fields:
they depend on. Organized in surprising the Biblical passage about Samson’s
arrangements, the final result produces death, in the last flash of his strength,
a magnetizing effect such that the and the compositions of Dutch painter
detail and its eventual function become Piet Mondrian. Gander’s sculpture points
abstract. In the end, the object’s use to Mondrian’s universe in its abstract
is neither more nor less than the role play of forms and use of color – part
it plays in the context of the artwork. In of the modernist inheritance of every
Samson’s Push, or Composition, Ryan contemporary artist. When he mentions
Gander stacks 35 side tables, sold the story of Samson who, when cornered,
by a popular home furnishings store, pushes the pillar that supports the temple
selecting his colors among those offered where he finds himself, killing his enemies
in the catalog. As an artist in permanent and himself as well, one can think of the
dialog with art history and with diverse artist’s own relationship to his modernist
references to contemporary culture, predecessors: all possible support for this
Gander constructs a pillar replete with weight is welcome.
EYES
OR
DR
PE
PEDRO
REYES
México
Desarme
2013
Aproximadamente 6.700 armas confiscadas. A instalação compreende 8 instrumentos mecanizados.
RE
YE
S
PEDRO
REYES
Mexico
Disarm
2013
Approximately 6,700 confiscated weapons. The installation comprises 8 mechanized instruments.
If all human beings deserve a chance to recovered from Mexican drug traffickers.
reinvent themselves, wouldn’t the same Working with a team of musicians and
hold true for objects? But how to imagine programmers, the idea was to create
a good use for a tank, a poison, a pistol? musical instruments from the metal parts,
Certain elements are so impregnated in a clearly pacifistic bias. While the team
with the stigma that defines them, explored potential sonorities, it was also
that resignification is an undertaking composing the music to be performed
which – if not impossible – requires on the new creations – a process that
great ingenuity. The task demands subverted the usual order in such a way
going through deconstruction in order to that message and medium influenced
reconstruct the elements, liberating the each another reciprocally. Unlike the
eye from their prior usage so as to find, in weapons, subject to the will of whoever
the parts, other possible combinations. handled them, the eight instruments in
Creative work that does not absolve the the work perform autonomously. Thus
object of its past, but offers a detour they materialize the transformation of the
around it. In the work Disarm, Pedro Reyes death instinct into the instinct of creation,
chose as his material 6,700 firearms of life, of freedom.
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DANIEL
ROZIN
Israel
Trash Mirror nº 3
2001 – 2011
500 discarded objects, motors, video camera, wood,
control electronics, custom software
As grandes construções habitam os sonhos criados para o contato com o solo – para
de todo menino. Dispor de equipamentos o alto, contorcendo-os em um volumoso
de armar e técnicas que permitem turbilhão. Fisicamente, o trabalho se apoia
manipular o que há de mais pesado e na tensão, minuciosamente calibrada,
maciço é desafiar a natureza. A brincadeira das câmaras de pneu entrelaçadas.
vale ainda mais quando impressiona Simbolicamente, nota-se um contraste
pelo feito: é possível manusear câmaras entre a consistência da obra e o caráter
de pneu de caminhão, tão resistentes, incontrolável do fenômeno natural a que se
como se fossem balões de festa? Sim. remete. O interesse do artista por projetos
Igualmente, o engenho humano é capaz ao ar livre condiz com suas manipulações
de dar materialidade ao que não se de forma e volume. Nesses projetos,
pode capturar, ou de recriar aquilo que o espaço da instalação é expandido,
se teme para, possivelmente, superar envolvendo o entorno em um ambiente de
o temor. Tornado aposta no jogo entre sentido. Um experimento de reflexão sobre
peso e leveza, suspensão no ar e conexão o poder de construção do homem – e um
com a terra. Na obra, Michael Sailstorfer convite a todo passante a vivenciá-lo.
provoca o espectador deslocando pneus –
M
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MICHAEL
SAILSTORFER
Germany
Tornado
2011
Truck tire inner tubes, steel and cement
Great constructions inhabit every boy’s viewer by shifting tires—created for contact
dreams. To have construction equipment with the ground—skyward, twisting them
at your disposal along with techniques into a massive maelstrom. Physically, the
for manipulating the heaviest and most work relies on the meticulously calibrated
solid of materials is to defy nature. The tension of the intertwined inner tubes.
game is worth even more when the feat is Symbolically, it calls attention to the
impressive. So, is it possible to manipulate contrast between the consistency of
something as intractable as the inner tubes the work and the uncontrollable nature
of truck tires, as though they were party of the natural phenomenon to which it
balloons? Yes. Likewise, human ingenuity refers. The artist’s interest in outdoor
is capable of giving materiality to what projects befits his manipulations of form
cannot be captured, and of recreating what and volume. In these projects, the space
is feared in order, possibly, to overcome of the installation is expanded, involving
the fear. Tornado gambles on the interplay the surroundings in an environment of
of weight and weightlessness, of being meaning. An experiment in reflecting on
airborne and connected to the earth. In man’s power of construction—and an
the work, Michael Sailstorfer titillates the invitation for all passers-by to experience it.
JOANA
VASCONCELOS
Portugal
A Noiva
2001 – 2005
Absorventes o.b., aço inoxidável, fio de algodão, cabos de aço. Coleção António Cachola, Elvas.
Obra produzida e restaurada com o patrocínio de Johnson & Johnson, Ltda.
Já sabemos: nem tudo o que reluz é ouro. revela os elementos que a constituem:
Mas, se não é ouro, ainda reluzirá em um absorventes internos o.b., ainda envoltos
segundo olhar? O primor técnico e a escala em sua embalagem transparente, razão
continuam a produzir encantamento em de seu brilho barato. A artista encontra
todos nós, assim como o deslocamento beleza no que se convencionou não
de objetos do cotidiano para o universo aprazível: o ciclo menstrual e seu universo
da arte segue capaz de provocar choque. – materialização da fertilidade e da
Os dois recursos parecem se renovar sexualidade feminina. Irônica e ambígua,
com o passar do tempo e das gerações, a obra, cujo título A Noiva remete à
mudando de termos e mantendo-se pureza, produz um comentário sobre essa
atuais. Romper os limites entre o íntimo natureza socialmente reprimida. Com a
e o público, invertendo o que se esconde repetição aos milhares de um só elemento,
e o que se ostenta, pode surpreender Joana cria um jogo de sentido entre os
mentalidades progressistas. Em A Noiva, aspectos micro e macro da peça, algo
Joana Vasconcelos cria um lustre com frequente em suas obras, assim como
detalhada ornamentação, produzindo um a referência às questões de gênero na
efeito suntuoso. Apreciada de perto, a obra contemporaneidade.
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JOANA
VASCONCELOS
Portugal
The Bride
2001 – 2005
Tampons, stainless steel, cotton thread, steel cables. António Cachola Collection, Elvas. Work
produced and restored with the support of Johnson & Johnson, Ltda.
We already know: all that glitters is not however, the work reveals its constituent
gold. But if not gold, will it still glisten on elements: tampons, still in their
a second look? Technical perfection and transparent wrappers, source of their low-
scale continue to cast their spell over us, cost luster. The artist finds beauty in what
just as the displacement of objects from is conventionally deemed unpleasant:
the everyday world to the universe of art the menstrual cycle and its universe, the
can still produce shock. Both strategies materialization of feminine fertility and
seem to renew themselves over time and sexuality. Ironic and ambiguous, the work,
successive generations, altering their whose title The Bride alludes to purity,
terms and keeping current. To breach the produces a comment on this socially
boundaries between the intimate and repressed aspect of nature. By repeating a
the public, inverting what is hidden and single element thousands of times, Joana
what is flaunted, can take progressive creates an interplay of meanings between
mentalities by surprise. In The Bride, the micro and macro aspects of the piece
Joana Vasconcelos creates a chandelier – a frequent characteristic of her works,
with detailed ornamentation, generating as is the melting pot of gender issues in
a sumptuous effect. Examined up-close, contemporary society.
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DOUGLAS
COUPLAND
Canada
Gumhead
2014
Low-density foam, fiberglass with steel frame
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SC
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PLA
ND
DOUGLAS
COUPLAND
Canadá
Cabeça de Chiclete
2014
Espuma de baixa densidade, fibra de vidro com estrutura de aço