Artur Lescher, ‘Maggi #90’, 2016, ICI: Benefit Auction 2017

Artur Lescher, who's geometric sculptures are currently on view in Paris at the Palais d'Lena, maintains a practice that carries the influence of the Brazilian modern art movement defined as Neo-Concrete Art, which gained traction in the 1950s. This can be seen in the weight of abstraction, the lightness of freedom of movement, and the merging of art and life, that has characterized the artist’s work since the ’80s. For nearly four decades, Lescher has created poetic objects and gestures in space, that transmit force and instability, balance and movement, tension and silence, as is the case in Maggi #90 (2016). His installations play on material and space, often engaging with modern architecture to transform corners, windows, walls, and doors into large-scale installations.

Lescher’s work is included in many Brazilian collections, including that of the Pinacoteca, São Paulo; as well as in the public collections of the Museu de Arte Moderna de Buenos Aires, Buenos Aires, Argentina; Museum of Fine Arts, Houston, TX; and Philadelphia Museum of Art, Philadelphia, PA; among many others.
—Courtesy of ICI

Image rights: Courtesy of the artist and Galeria Nara Roesler, NY, São Paulo, Rio de Janeiro

Galeria Nara Roesler, New York
Artist's studio

About Artur Lescher

Since the 1980s, Artur Lescher has been creating austere, poetic sculptures, objects, and installations through which he investigates the mechanics of form and movement, balance and tension, and architectural spaces. He came to national prominence in his native Brazil in 1987, when he participated in the 19th Bienal de São Paulo with Aerólitos, an installation of two Zeppelin-like balloons set side-by-side, one inside, the other outside of the pavilion’s windowed wall, creating a compelling double image that seemed to dematerialize the architectural feature separating them. Lescher has been playing with the perception of materials and spaces ever since, in works reflecting direct influences from Constructivism, Suprematism, the Brazilian Neo-Concrete movement, Performance Art, and Minimalism. At the heart of all of his work is a focus on perceived boundaries—between, for example, reality and its representation—which he continuously breaks down.

Brazilian, b. 1962, based in São Paulo, Brazil