Sempre um ponto de identidade, sempre distinção

GROUP SHOW

Sempre um ponto de identidade, sempre distinção

GROUP SHOW

  • Period
  • 12.11 — 20.12.2016

  • Opening
  • 12.11 — 2 PM

  • Curated by
  • Hércules Martins Goulart
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Adriano Amaral  |  Ana Mazzei  |  Charbel-joseph H. Boutros  |  Daniel de Paula  |  Débora Bolsoni  |  Goran Petercol  |  Lais Myrrha  |  Michael E. Smith  |  Ricardo Basbaum  |  Rafael França 


The set of works presented consists of myriad poetics,  and the vehicles used include installation, drawing, video, diagram and site specific works, among others. From these and their substances or syntaxes an incessant game of convergences and differences is established. Various topics and approaches – such as participative propositions, expansion or temporal overflowing, sociopolitical focus, circularity, impermanence, public, domestic, concrete and intangible – continuously intertwine, thus offering effectively more prismatic understandings and, consequently, leveraging new meanings, interpretations and unrestricted analogies.


The key to this exhibition is the term mutualism, current in several fields of knowledge, especially in the spheres of Biology and of Sociology. This concept refers above all to the symbiotic relationship that is established between beings of the same species, as well as between organisms of different species, and even between individuals from the same society or not. The interrelationships of alterities that stem from these performances trigger a process of mutual reciprocity and inter-pollination. As a consequence new links, outcomes and hued identities are engaged. 


Furthermore, the word mutualism has its etymological root in the Latin word mutuus, which means reciprocal. Mutuus comes from the root of the verb mutare, which denotes that which can switch or be interchanged. With the addition of the Greek suffix ismos, mutualism connotes in equal measure state, condition and process.


The notion of reciprocity reflects the profuse web of correspondence points underlying the works on show. Given the specific nature of the conceptual strategies and of the procedural gestures adopted, each zone of confluence gives rise to numerous differential perspectives. The principle of mutuality illuminates, moreover, the idiosyncratic relations that the works come to establish with the surrounding architecture and vice versa, often resulting in alterations to the mental and physical territory occupied by the public. And, finally, it demonstrates the intergenerational and pluricultural character of the exhibition.


The video, After a deep sleep (Getting out) by artist Rafael França (1957-1991) clearly signals the nature of the exhibition and points to the latency of correlations that might develop in relation to other works. The experimental use of time lapses, irony, interpolated chromatic planes, inverted time and rupture of the link between image and sound, generates a non-definition characteristic of hybrid genres. Here there is a blend of aspects that are very specific to La Nouvelle Vague and Slapstick. The conventions that outline the boundaries between still, realist photography, animation and cinematic image end up being unsuitable. The acoustic incongruence introduces different temporalities and creates a schizoid atmosphere, tinting and overlapping the dynamic of spatial geometry. The iterative reverberation of a kind of after-sound surrounds us and engages us as co-protagonists, like the performer, of a plot in which domestic architecture is experienced as an unusual situation of confinement.


It must be noted here that this video was produced one year before the supposedly official end of the military dictatorship in 1985.


The juxtaposition of the works presents an open configuration, taking on the appearance of a stretched constellation of situations and microcosms, which aims to enable successive encounters, as well as a more direct and active, and therefore less distant and contemplative relationship. The visitor draws on the locomotion, that is,  a on a space-time performance to integrate and compose in conjunction with the images, propositions, sounds and objects, a fortuitous and contingent sensory-cognitive field.

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