1:1

João Loureiro

  • Assisted Reproduction
  • Assisted Reproduction
  • Assisted Reproduction
  • Assisted Reproduction
  • Location map for the project.

1:1

João Loureiro

  • Period
  • 12.05 - 21.07.2018

  • Opening
  • 12.05.2018

  • Curated by
  • Bruno de Almeida
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The project 1:1 explores the relationship between the gallery and its urban context through the connection among the exhibition space and other pre-existing places in its vicinity. In each of the project’s editions, an artist is invited to conceive a bipartite work, which occupies an exhibition room in the gallery and, simultaneously, a second space within the neighborhood. This other location, which already hosts its own uses and functions, is chosen by the artist and situated within walking distance from the gallery. Thus, to understand the totality of the works, the public will have to go from the exhibition room to a certain place in the neighborhood or vice versa.


For the first edition of the project, artist João Loureiro correlates the exhibition space of the gallery with a butcher's shop inside Futurama supermarket. In the butcher's shop, the artist exhibits sculptures of ground beef, small-scale reproductions of Henry Moore's "Reclining Figure in Two Pieces: Points" (1969-1970) (1898-1986). Once a week, the artist moves to the butcher's shop and collects the dead flies from the insect light trap installed there. The carcasses of the flies are taken to the exhibition space in the gallery and are stuck there with entomological pins in a Styrofoam sculpture, full-scale reproduction of the Italian artist Umberto Boccioni's "Unique Forms of Continuity in Space" (1913) 1882-1916). Throughout the exhibition the same processes is repeated and the styrofoam sculpture will accumulate more and more dead flies.


“Unique Forms of Continuity in Space” is not only the high point of Boccioni's artistic trajectory but also one of the main symbols of Futurism, a proto-fascist movement originated in Italy at the beginning of the twentieth century, and endowed with an aesthetic and political ideology that boasted modern progress, breaking ferociously with any kind of nostalgia for the past. In aiming for a total renewal of human life, Futurism extended its sphere of action to various fields, such as cooking. Meat sculptures are one of the dishes defended by the Futurist Cooking Manifesto. By transcending food’s dietary function, the group not only sought to use it as an artistic medium,but also as an instrument for the diffusion of nationalist and fascist ideals,which aimed at a simultaneous transformation of the population’s bodies and minds.


The marching Man represented in the work "Unique Forms of Continuity in Space" synthesizes this mutating body, which is the paradigm of Futurism. The sculpture’s original matrix, in plaster, belongs to the Museum of Contemporary Art of the University of São Paulo (MACUSP), and the sculpture’s well-known bronze versions were cast from it. The fourth and last cast was made at the request of TATE Gallery and exchanged withMAC USP for the work "Two-Piece Reclining Figure: Points" by Henry Moore. Both pieces synthesize the artistic trajectories of their authors, and their images have become immortalized in a collective unconscious that transcends the History of Art. The flies, which in Joao Loureiro's work are the connecting agents between the two spaces, do not have any distinguishable individual appearances, one represents all and they all have the same banality and insignificance that have guaranteed them, for centuries, the same disdain anywhere.

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