Alexandre da Cunha is curator at Marli Matsumoto Gallery

Working for the second time in his career as a curator, the artist invites us to immerse ourselves in the color yellow in a sensorial and affective experience.

Sky Eye Yellow Line by Rubens Gerchman

The little and charming Marli Matsumoto Gallery it was invaded by the yellow color that appears at times incandescent and at times timid and discreet, hidden within the works. Alexandre da Cunha, artist responsible for curating the exhibition Sun, refers to the show’s creation process as an “affective curatorship” whose sole objective was to evoke the shape of the sun as an element that brings light and makes us “forget about the boring things in life”. 

The provocation for the exhibition came from the work Sky Eye Yellow Line in Rubens Gerchman, a large yellow wooden sign that served as a common thread throughout the exhibition. “Starting with Gerchman's work, the process was very organic. I wanted to think of the color yellow less as a color and more as matter, as if it were a substance that contaminates, that transmits light to other works”, explains Alexandre. Little by little, the other works were “contaminated”, composing the set that today constitutes the exhibition of 48 works by 24 different artists. 

Alchimie 371, by Julio Le Parc, 2017

The works are displayed in the gallery's three rooms without any type of identification such as the name of the work, the author or the date of creation. As a curator, Alexandre made this choice because he had no intention of making any historical context or explanation that could disturb the visitor's sensory experience. The goal is to go in, look at the light coming from the walls and feel it. 

And the result of the experience is a cozy visit. There really is something about the color yellow that calms and warms. Even though the works are absolutely different from each other, not only in the tonalities of the central color of the exhibition but also in the techniques, a meticulous dialogue was established. In one of the rooms there is a TV on showing the film Triunfo Hermético by Rubens Gerchman, and its low sound floods the room filled with other works such as the canvas Alchimie 371 by Julio Le Parc and Sol Fresco by Vanessa da Silva. 

Frame from the film Triunfo Hermético, 1972, by Rubens Gerchman

In another room, on the wall next to the Gerchman sign, there is a work entitled “Sol”, by Leda Catunda, created especially for the exhibition. “When I told her (Leda) that I was going to exhibit one of her works and explained about the exhibition, she was so excited that she ended up creating a new work”, says Alexandre. 

Sol Fresco, by Vanessa da Silva, 2022

The last work in the exhibition was completed just a few minutes before opening. This is the work “Notes from Mount Analogue”, by the iconic British artist Richard Wentworth. The entire work was composed at a distance, by correspondence between Alexandre and Richard, who compared the assembly of the work to a kind of cooking show where one sends the ingredients and the other cooks the meal. 

Outside, a mannequin dressed in a faithful reproduction of Vaslav Nijinsky's Faun costume revolves around a plinth to the tune of Debussy's “L'après-midi d'un faune”. The work, created by Ana Mazzei, establishes a connection between the past and the future or between the erudite and the modern and translates the soul of the exhibition: an unusual journey to a common place. 



Date: April 02 to June 11, 2022

Location: Marli Matsumoto Gallery

Address: Rua João Alberto Moreira, 128 – Vila Madalena, São Paulo (Brazil)

Opening hours: Monday to Friday from 11 am to 7 pm, Saturdays from 11 am to 3 pm

Ticket: Free

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