21 works that marked the first SP-Arte Viewing Room

Estimated reading time: 7 minutes

SP Arte ends this Sunday and we miss you already. Have you already chosen your favorite works?

We made here some work previews must see in previous weeks. Now we make another small selection of works that we love from the first online version of the biggest fair in Latin America. Come with us!

1. A Moment Before 3 (Meanwhile: People Won't Riot. They Won't Look Up From Their Screens Long Enough To Realize What's Happening) George Orwell / 1984 by Pablo Ravina at Ginsberg

2. Laje #101 (Ankunft), by Matheus Rocha Pitta, at Galeria Athena

On Slab #101 (Ankunft) – “Ankunft” means “arrival” in German – there are two images of refugee children arriving on the island of Lesbos, in Greece, as well as two golden thermal blankets, used by one of them in the images. The “arrival” of these children does not seem to be just theirs, but also the arrival of an uncertain and dystopian future. 

3. Untitled, 1976, by Anna Maria Maiolino, at Almeida e Dale

Anna Maria Maiolino is a thought-provoking artist, and according to her, her work: “spirals around some constant concerns, the everyday, the feminine, the political, the ethical.” Working with malleable materials, he tests the possibilities of forms, proposing and incorporating the void, not always opposed to the full. In this work, the cuts, seams and tears of the overlapping layers reveal the artist's actions. These are clear traces of experiments on the materiality of paper. Construction and deconstruction, completeness and its reverse, apparent signs of organizing gestures of forms.

4. Geometrias da terra, by Clara Moreira, by Amparo 60

The drawings in the series “Geometrias da terra”, by Clara Moreira, resemble performance records: the body in a choreographic state, handling ribbons, as if they were sculptural matter. The ribbons are distributed symmetrically moving away from the earth, and, mixed, united and confused, they are released in the air. Between earth and air, the woman's body mediates the tapes: it creates shapes with them, leans on them, takes shelter under its provisional architecture. This is the vocabulary system proposed by Clara in this series, which transcribes the verb “colher” in a kind of poetic operation.

5.I never saw Adriana Varejão in my neighborhood, by Renan Aguena, from HOA

“I develop research and artistic production from the suburban territory of Rio de Janeiro. With this research, I seek to create a field that goes beyond the limits of my production and the multiple themes that may cross it. All works are part of my research on the suburbs of Rio, where I deal with the most different themes related to this territory, such as questions about the field of art and the suburban intelligentsia, mobility and structures that make up the different areas of the city.”

6.Tuiuiú, by Adriana Coppio, at Venus

Tuiuiú is actually Jaburu. It is considered the Pantanal's symbol bird and can be found from Mexico to Uruguay, with the largest populations found in the Pantanal and the eastern Chaco, in Paraguay. When perched on the rich Pantanal landscape, its leggy beauty, with a slender and naked neck, and white, black and red colors, attracts, of course, the eyes of tourists with their cell phone cameras.

7. Exú Três Cabeças, by Chico Tabibuia, at Aloisio Cravo Arte

8. Ivens Machado, from Fortes D'Aloia & Gabriel 

Ivens Machado used raw materials typical of civil construction such as concrete, rebar, glass and wood, manipulating these materials in order to reorganize the codes of conventional sculpture. His sculptures materialize a clear and objective syntax that gives voice to the forms themselves, letting reinforced or shattered concrete, wire mesh and broken bricks reveal layers of meaning beyond their surfaces.

9. The way you pretend to be someone else, won't let me sleep alone with you, by Heloisa Hariadne, at HOA

My research deals with the inversion of bodies and their performativities that follow a poetics related to an invisible path that also looks for traces not only linked to raciality, perpetuating a desire to follow the vague and, at the same time, habitable as a place in which all bodies meet and end up questioning each other about identities. I reflect on a perspective, where one's own body becomes an idealization/fissure of a gaze on itself to become the other's.

10. Every empire breaks like a vase, by Paulo Nimer Pjota, at Mendes Wood DM

11. From the Sugar Shoes series, by Tiago Sant'Ana, at Galeria Leme

In the series “Sugar Shoes”, the artist uses the shoe as a precarious symbol of the liberation of black people enslaved in the post-abolition period, transforming them into an object made of sugar. The series' tension lies in the shoes being about to be dissolved in sea water, a gesture to address the fragility of citizenship when referring to the black population.

12. I want, by Mariana de Matos, in Amparo 60

Mariana de Matos is tide. Transdisciplinary artist. Mineira, from Vale do Rio Doce, comes from a territory in historic dispute between the rights of indigenous populations and the secular debt of the locomotive of progress. Lives and works in São Paulo, Brazil. Exercises the tension between historical truth and polyphonic counter-narratives; power relations and new contours for old structures. Investigates representation, imaginary, delirium of modernity, invention of difference, subjectivity, self-narrative and colonial wound. It is located on the border between the fields of image and word.

13. Untitled, from the Palhinha series, by Mano Penalva, at the Central Gallery

The “Straws” series, whose name comes from the material they are made of, stems from the artist’s relationship with straw pickers in the cities. “There was a straw truck that was on the corner of my house every day with an advertisement and three types of straw displays that he made. That for me is poetry installed in the city. And I'm talking about São Paulo. It is very beautiful to think of this city as gray, and at the same time, to have this manual work, passed down from generation to generation, which is so sophisticated and beautiful. It's like an invitation to think about the time to make and use things. A longer time.”

14. What is a museum (Lina Bo Bardi – A marvelous entanglement)”, by Isaac Julien, Galeria Nara Roesler 

What is a museum? is one of the photographic works that make up Lina Bo Bardi: A Marvelous Entanglement, the most recent production by Isaac Julien about the Italian-Brazilian architect. The image was taken at Solar do Unhão, at the Museu de Arte Moderna da Bahia (MAM-BA), in front of the staircase designed by the architect, a symbolic landmark of her language. Julien captures the moment in which the movements performed by a ballerina from the Balé Folclórica da Bahia, conceived by choreographer Zebrinha, dialogue with the very form of the architectural structure.

15. Cosmic egg, 1980, by Regina Vater, at Galeria Jaqueline Martins

Present in the most diverse cultures and ancestral civilizations as a symbol of life and the origin of the world, the figure of the egg has a special meaning for the artist. In addition to being understood as a physical manifestation of time, of a certain period of gestation, Regina saw in this symbology a “promise of possibilities”. The work was developed at a time when the artist herself was questioning the time she devoted to her production in the face of the pressures of an increasingly fast-paced art market. 

16. Schemas #1, by Igor Vidor, at Galeria Leme

Schemes, proposes a historical look at the bankruptcy of the country's modernization plan. Through bullet cartridges collected in Rio de Janeiro, placed between frames that in turn “disarrange themselves”, the artist defends the idea about the failure of a plan that symbolizes an aseptic functionalism, which did not foresee the body, which was then marginalized for not participating in the social contract, which was tried to be instituted with the modern era in Brazil, promised since the construction of our current federal capital, also seen in the development of geometric abstraction in the country.

17. Extrema Day Trip, by Ana Amorim, at 1 Mira Madrid

Since 1988, I've been recording mental maps of my daily walk as evidence of being alive in the world. Evidence collection routines are inseparable from my life and will continue to be so indefinitely. I understand art as a succession of mental and emotional experiences that originate in the relationships I establish in my daily life. Everything that constitutes my existence is my raw material and the world is my exhibition space. This art-life framework led me to conceptual questions about how art should be treated, reflecting on the locus of art and how an art space can be transformed into an art venue.

18. Song of Broken Chains, by Melvin Edwards, 0101 Platform

19. Incorporeal (Ethereal), by Mônica Ventura, in Levante Naconal Trovoa.

20. Tree, heart, hug, by Thalita Hamaoui, at Casa Nova

Watercolor is perhaps a technique left over from the eight years the artist worked as a surface designer. In this period, his interest was dedicated to dyeing processes and geometric designs with watercolor applications leaking their limits. In his paintings, however, this leakage is intense and takes place without prior demarcations. The artist's process also occurs in layers of time and density. It can take up to ten days to achieve the desired color passes, which points to expressiveness that doesn't hit the screen with just one push.

21Oxum, from the Orixás series, by Josafá Neves, at Baró

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