The Best Shows Across São Paulo Ahead of the 33rd Bienal – 在第三十三世纪前Paulo的最佳表演

Bárbara Wagner and Benjamin de Burca ‘Canada. 20’
Galeria Fortes D’Aloia & Gabriel
4 September – 6 October

Collaborators since 2011, Brazilian and German filmmakers Bárbara Wagner and Benjamin de Burca’s new documentary, RISE (2018), is set in the new Toronto underground extension.

Centred on the practices of R.I.S.E. (Reaching Intelligent Souls Everywhere), a club founded by poet Randall Adjei that offers a supportive platform for participants to share their poems and songs, the film explores the mixed-cultural creative dialogues that result from the encounters between first and second generation Torontonians.

Most R.I.S.E. members are rooted in other cultures and languages and the duality that comes with this is often expressed in their performances. Mirroring this condition, the new underground area, linking the city centre to the suburbs, can be understood as an empowering space in which the sounds, rhythms and poetry that are expressed by performers can represent a therapeutic route towards a sense of belonging. 


The Best Shows Across São Paulo Ahead of the 33rd Bienal - 在第三十三世纪前Paulo的最佳表演

Jessica Mein, Quase, 2018, film still. Courtesy: the artist and Galeria Leme

Jessica Mein 
Galeria Leme
25 August – 29 September

The imposing brutalist exhibition space designed by Paulo Mendes da Rocha for Galeria Leme gains a white-washed, free standing cross-shaped wall structure to accommodate delicate geometric textile artwork and a video animation made by Buenos Aires-based artist, Jessica Mein. The exhibition is centred on a decade-long investigation into the physicality of image-making which uncovers the artist’s family’s heritage as lacemakers and embroiderers. Making use of obsolete found materials such as hemp spice bags, Mein methodically opens and deconstructs the original weave to create new textile forms and patterns. The obsessively reworked fabrics are stretched over visible wooden frames and the artist often painstakingly inserts new threads by hand into the loosened weave, adding colour and creating movement. This is the case in Desborde, 18 (2018), a vertical frame covered by an overall white loose mesh through which run large black and blue vertical zigzags made from coloured cotton threads. In other works, the artist covers sections of the textile pieces with acrylic glue and rubbings of different surfaces, to create a complex layering of patterns and textures. In the overall indigo corner-piece Desborde dobra (2018), the two parts that comprise it were glued together and then pried apart leaving behind imprints of this action.  


The Best Shows Across São Paulo Ahead of the 33rd Bienal - 在第三十三世纪前Paulo的最佳表演

Yan Xing, 'Opfer', 2018, installation view. Courtesy: the artist and Galeria Jaqueline Martins, São Paulo; photograph: Gui Gomes 

Yan Xing, ‘Opfer’
Galeria Jaqueline Martins
25 August – 13 October

Chinese artist Yan Xing's first solo exhibition in South America, displays his interest in exploring overarching themes such as resistance and order, by way of a video-installation and a series of performances taking place in an area covered by a floor-installation that serves as their stage. Xing is known for highly conceptual multimedia projects that reflect critically on history as construct, looking not only to contemporary art, but, also, cinema, literature and critical theory. The exhibition title, ‘Opfer’ (meaning ‘victim’ in German), acknowledges the last film made by Russian film director Andrei Tarkovsky, The Sacrifice (1986), whose central character is an aesthetics specialist indignant with the state of modern man. The performances taking place on the ground floor gravitate around the concepts of ‘sacrifice’ and ‘mercy’, which also permeate the video-installation on the first floor made from footage shot in São Paulo, addressing the city's crude violent nature. Xing brings together different tensions to comment on the current state of flux we are living in and the deep-rooted changes societies are going through.


The Best Shows Across São Paulo Ahead of the 33rd Bienal - 在第三十三世纪前Paulo的最佳表演

Acantilado, series 5, 2017, felt sculpture. Courtesy: the artist and Galeria Eduardo Fernandes, São Paulo

Rosario López, ‘Absence of Landscape’
Galeria Eduardo Fernandes
30 August – 5 October

Colombian artist Rosario López travels far and wide to experience unique locations. In many of which, nature is raw and rugged and the impact of geology and geography is imprinted in striking formations. The wall sculptures, drawings and photograph in this show, from the series ‘La Tierra Importa’ (Land Matters, 2017), are the result of the artist’s time spent in Cape Raoul, Tasmania. Rooted in exploring ‘territory’ as a theme in her work, Lopez studies her area of choice closely, deconstructing her subject in order to reach its essence. The black and white photograph of Cape Raoul on display stands as a testament to her source, setting a reference and encasing visual details, but also hinting at the invisible conditions and influences at different scales that shape it (weather, plate tectonics, flora and fauna). In the case of the works in ‘The Absence of Landscape’, her process results in felt and iron wall sculptures and drawings where contour lines and spaces prevail.


The Best Shows Across São Paulo Ahead of the 33rd Bienal - 在第三十三世纪前Paulo的最佳表演

Hector Zamora, Capa-Canal, 2018. Courtesy: the artist and Luciana Brito Galeria, São Paulo

Hector Zamora
Luciana Brito Galeria
1 September – 6 October

In the back annex of the modernist house home to Luciana Brito’s gallery, Hector Zamora, a Mexican who lives in Brazil, exhibits his new video-installation Nas Coxas (2018), which is a development from his performance work presented at the 11th Bienal do Mercosul. The original performance comprised 13 people of mixed ethnicities sat on stools rolling clay tiles on their thighs, for two hours. The 500 tiles that were made as a result are exhibited at the gallery alongside the video-installation.

The untitled exhibition's point of departure is the expression in Portuguese ‘made on the thighs’ (feito nas coxas), which means ‘badly done’ and is echoed in the title of the video-installation. There are different theories as to the origin of this expression, but all hail from the same period – when Brazil was a Portuguese colony. Some say the phrase refers to when slaves were made to mould clay tiles on their thighs and others say it comes from a Portuguese expression that connotes sexual relations. To the artist, who says the first theory has been debunked by historians, both contribute to the artwork, which hinges on the incongruities of social relations in Brazil.

‘Acima de Tudo’ (Above All), a new performance by Zamora designed for the gallery’s façade and taking place during the opening of the exhibition, looks at the contradictions of the utopian ideals of Brazilian architectural Modernism.


The Best Shows Across São Paulo Ahead of the 33rd Bienal - 在第三十三世纪前Paulo的最佳表演

Minerva Cuevas, La venganza del elefante (The Revenge of the Elephant), 2007, twelve slides from 19th Century illustrations. Courtesy: the artist and kurimanzutto, Mexico City; photograph: Michel Zabé/Enrique Macías, São Paulo

Minerva Cuevas, ‘Dissidence’
Galpão VB – Associação Cultural Videobrasil
30 August – 15 December

Known for her documentation of political environments to comment on contemporary society and ecological abuses, Mexican artist, Minerva Cuevas’ video-installations and slide-projections are exhibited in the Videobrasil warehouse at a time when changes in Brazilian legislation about the demarcation of indigenous lands, the deforestation of the Amazon and the use of agrochemicals are in motion.

The artist’s first solo exhibition in Brazil takes its name ‘Dissidence’ from Cuevas’ emblematic eponymous work, a video piece that documents political demonstrations and protests in Mexico City, the slums that surround it and the discrepancies between their social narratives and those of corporations. Cuevas often appropriates the language of marketing and advertising, makes use of humour and irony, and dialogues with contemporary pop icons to establish her social narratives.


The Best Shows Across São Paulo Ahead of the 33rd Bienal - 在第三十三世纪前Paulo的最佳表演

Patrcio Farías, Equipamento Para Voar Alto (High Flying Equipment), 2005, iron, wood and audio. Courtesy: the artist and Bolsa de Arte

Patricio Farías, ‘As Desauras de Patrício Farías’
Bolsa de Arte
3 September – 17 October

Curated by Adolfo Monetejo Navas, this retrospective of the Chilean artist Patricio Farías compiles artwork made since the 1980s, bringing together a selection of the plurality of mediums he has explored over his decades’ long career.  Farías moved to Brazil in the early 1980s, fleeing the Chilean dictatorship, and this is his first solo show in São Paulo.

Mastering the craftsmanship of shaping wood, metals and cloth into exquisitely rendered three-dimensional pieces, the alluring imaginative machinery and equipment in the exhibition are a highlight. Farias’ work expresses the spirit of an inventor, something that evokes a dialogue with Leonardo da Vinci: socially aware and unhindered by mundane boundaries. In Equipamento do Escalador Social (Social climber’s equipment, 2010), Farias presents an outfit that blends the style of a hazmat suit with the exoskeleton of an exotic creature, bearing a tail and wheels on its portion of trunk. In Equipamento para voar Alto (Equipment to fly high, 2010), another wacky suit bearing wings, a helmet and a rocket for a tail, the artist ignites a sense of naively boundless freedom. Farias’ unique blends of recognizable everyday objects nods towards commentary on consumer society and in O Grande Vidro (The Large Glass, 1998–2010), which explicitly references Marcel Duchamp’s homonymous iconic piece, Farias pays homage to the legacy that preceded him.

The 33rd Bienal de São Paulo runs from 7 September to 9 December 2018 at the Ciccillo Matarazzo Pavilion, Ibirapuera Park.

Main image: Bárbara Wagner & Benjamin de Burca,   RISE, 2018, film still. Courtesy: the artists and   Fortes D’Aloia & Gabriel, São Paulo/Rio de Janeiro.

Camila Belchior

Camila Belchior is an independent writer, art historian and critic, based in São Paulo.

Critics’ Guides /

São Paulo
Galeria Leme
Galeria Jaqueline Martins
Galeria Eduardo Fernandes
Galpão VB – Associação Cultural Video Brasil
Luciana Brito Galeria
Bolsa de Arte
Galeria Fortes D’Aloia & Gabriel

瓦格纳和Benjamin de Burca的加拿大。20'
Gal.Fortes D'Aloia&Gabriel
9月4日至10月6日,自2011年以来,巴西和德国电影制片人Brbara Wagner和本杰明·德·布卡的新纪录片《RISE》(2018)以多伦多新的地下分机为背景。影片以诗人兰德尔·阿杰(Randall Adjei)创办的“R.I.S.E.(到达每个地方的智能灵魂)”俱乐部的实践为中心,该俱乐部为参与者分享他们的诗歌和歌曲提供了一个支持平台,探索了第一次相遇所产生的混合文化创造性对话。和第二代托龙托尼亚人。大多数R.I.S.E.成员都植根于其他文化和语言,伴随而来的两重性常常表现在他们的表演中。反映这种情况,把市中心和郊区连接起来的新的地下区域可以被理解为一个赋予力量的空间,在这个空间里,表演者所表达的声音、节奏和诗歌可以代表通向归属感的治疗途径。e_2018_videoanimation_._.s.jpg The Best Shows Across São Paulo Ahead of the 33rd Bienal - 在第三十三世纪前Paulo的最佳表演 Jessica Mein, Quase, 2018,胶卷静止。礼仪:艺术家杰西卡·梅恩和伽利利亚·莱姆画廊MaM雕t精致几何纺织品艺术品和视频动画由布宜诺斯艾利斯艺术家,Jessica Mein。这次展览集中于长达十年的形象塑造的实质研究,揭示了这位艺术家家族作为鞋匠和刺绣家的传统。利用过时的发现材料,如大麻香料袋,Mein有条不紊地打开和解构原始组织,以创建新的纺织形式和图案。这些经过反复加工的织物在可见的木架上展开,艺术家经常用手费力地将新线插入松弛的织物中,增加色彩并创造出运动感。Desborde,18(2018)就是这种情况,它是一个垂直框架,上面覆盖着一个白色的松散网,通过该网可以形成由彩色棉线制成的黑色和蓝色垂直的锯齿形。在其它作品中,艺术家用丙烯酸胶和不同表面的摩擦来覆盖纺织件的各个部分,以形成图案和纹理的复杂分层。在整体靛蓝转角件Desborde dobra(2018)中,组成它的两个部分粘合在一起,然后撬开,留下这个动作的痕迹。“smallggf_4291-hdr_hi.jpg”The Best Shows Across São Paulo Ahead of the 33rd Bienal - 在第三十三世纪前Paulo的最佳表演.【Yan.Opfer】,2018,安装视图。礼仪:艺术家兼加利亚·贾奎琳·马丁斯,圣保罗;照片:桂·戈麦斯·严星,'Opfer'
8月25日至10月13日中国艺术家严星在南美洲的首次个人展览,显示了他对此的兴趣。通过视频安装和在作为其舞台的地板安装所覆盖的区域内进行的一系列表演,探索诸如阻力和秩序等首要主题。邢先生以高度概念化的多媒体项目而闻名,这些项目批判地将历史作为结构,不仅关注当代艺术,而且关注电影、文学和批评理论。展览名称“Opfer”(德语中意为“受害者”)承认了俄罗斯电影导演安德烈·塔尔科夫斯基(Andrei Tarkovsky)的最后一部电影《牺牲》(The Sacrifice)(1986),该片的中心人物是一位对现代人的状态感到愤慨的美学专家。在底层进行的表演围绕着“牺牲”和“仁慈”的概念,这也渗透在由在圣保罗拍摄的镜头制成的一楼的视频设备中,以处理城市粗暴的暴力性质。邢先生汇集了不同的紧张局势来评论我们目前生活的变化和社会正在经历的根深蒂固的变化。

rosario-lopez.jpg The Best Shows Across São Paulo Ahead of the 33rd Bienal - 在第三十三世纪前Paulo的最佳表演 Acantilado,系列5,2017,毛毡雕塑。礼貌:艺术家与加利亚·爱德华多·费尔南德斯、圣保罗·罗萨里奥·洛佩斯、《没有风景》603003br加利亚·爱德华多·费尔南德斯、8月30日至10月5日,哥伦比亚艺术家罗萨里奥·洛佩斯四处旅行,体验独特的地点。在许多地方,大自然是原始的,崎岖不平的,地质学和地理的影响被印在了引人注目的地层中。这次展览的墙壁雕塑、绘画和照片来自“LaTierraImp.”(Land Matters,2017)系列,是艺术家在塔斯马尼亚拉乌尔角度过的时间的结果。洛佩兹植根于对“地域”这一主题的探索,密切研究她的选择领域,解构她的主题,以达到其本质。展出的拉乌尔角的黑白照片证明了她的来源,提供了参考和包含视觉细节,但也暗示了不可见的条件和形成它的不同尺度的影响(天气、板块构造、植物和动物)。在《没有风景》的作品中,她的过程产生了毛毡和铁壁雕塑和绘画,其中轮廓线和空间占主导地位。HAZTRO-ZAMORA-CAPA-CANAL 201.JPG The Best Shows Across São Paulo Ahead of the 33rd Bienal - 在第三十三世纪前Paulo的最佳表演 Hector Zamora,CAPA运河,2018。礼貌:艺术家和卢西亚娜·布里托画廊,圣保罗·萨莫拉,卢西亚娜·布里托画廊,卢西亚娜·布里托画廊,卢西亚娜·布里托画廊,位于卢西亚娜·布里托画廊的现代主义住宅的后附楼,居住在巴西的墨西哥人赫克托·萨莫拉,展示你好。他的新视频装置纳斯·考克斯(2018),是他在第11届双年展上展示的演出作品的一个发展。最初的表演包括13个混合种族的人坐在凳子上,在大腿上滚动粘土砖,持续两个小时。这500块瓷砖是在视频装置旁边的画廊展出的。该无标题展览的出发点是葡萄牙语“大腿上制造”(feito nas coxas)的表达方式,意思是“做得不好”,在视频装置的标题中得到呼应。关于这个表达的起源,有不同的理论,但都来自同一时期——巴西是葡萄牙殖民地。有人说这句话是指奴隶们在大腿上制作黏土砖,而另一些人则说是来自葡萄牙语,暗示了性关系。对于艺术家来说,第一个理论已经被历史学家揭穿了,这两个作品都对艺术作品有贡献,这取决于巴西社会关系的不一致性。“Acima de Tudo”(最重要的)是萨莫拉在展览开幕式上为画廊设计的一个新表演,它着眼于巴西建筑现代主义乌托邦理想的矛盾。Minerca-cuevas-mc3725-1.jpg The Best Shows Across São Paulo Ahead of the 33rd Bienal - 在第三十三世纪前Paulo的最佳表演 Minerva Cuevas,La venganza del elefante(大象的复仇),2007年,19世纪插图的12张幻灯片。圣保罗·密涅瓦·库埃瓦斯,《异议》603003br Galpredo VB-As.a..Videobrasil 603003br 8月30日至12月15日,以记录政治环境以评论当代社会和生态虐待而闻名,墨西哥艺术家,Minerva C.当巴西关于划定土著土地、亚马逊森林砍伐和农用化学品的立法发生变化时,uevas的视频装置和幻灯片放映在Videobrasil仓库中展出。这位艺术家在巴西的首次个人展览取名为《异议》,取自Cuevas,象征性的同名作品。这是一段录像,记录了墨西哥城的政治示威和抗议活动,周围的贫民窟,以及他们的社会叙事与c.教堂。Cuevas经常运用市场营销和广告的语言,利用幽默和讽刺,以及与当代流行偶像的对话来建立她的社会叙事。Patrcio-farias-..o-para-voar-alto-2005-.-madeira-e-..jpg wpap60602img Patrcio Fari as, Equipamento Para Voar Alto(高空飞行设备),2005,铁,木材和音频。礼貌:艺术家和布尔萨艺术博里西奥·法里亚斯,阿道佛·莫尼特霍·纳瓦斯(Adolfo Monetejo Navas)于9月3日至10月17日策展的《作为德索罗斯·德·帕特里西奥·法里亚斯》(Desauras de Patrcio Faras)二十世纪八十年代,法雷亚斯在漫长的职业生涯中探索了多种媒体。法雷亚斯在1980年代初移居巴西,逃离智利独裁统治,这是他在圣保罗的第一场个人表演。掌握了将木材、金属和布料成形为精美的三维件的工艺,展会中诱人的想象力机械和设备是一个亮点。法里亚斯的作品表达了发明家的精神,唤起了与达芬奇的对话:具有社会意识,不受世俗界限的阻碍。在Equipamento do Escalador Social中(社会攀登者的设备,2010),Farias展示了一套将危险套装的风格与异国生物的外骨骼混合的服装,在其躯干部分带有尾巴和轮子。在《装备·帕拉沃·奥托》(装备,2010年)中,另一套奇装异服,带有翅膀、头盔和尾巴用的火箭,艺术家点燃了一种天真无边的自由感。法里亚斯独特的复仇情结


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