Vermelho proudly presents the second solo show by Edgard de Souza in the gallery.
Known for his permanent installation at the Inhotim Park - a contemporary art park close to Belo Horizonte - de Souza has participated in exhibitions such as Queermuseum: Cartografias da Diferença na Arte Brasileira / Cartographies of Difference in Brazilian Art (Parque Lage, Rio de Janeiro, 2018 / Santander Cultural, Porto Alegre, 2017), Modos de Ver o Brasil / Modes of Viewing Brazil: Itaú Cultural 30 Years (OCA, São Paulo, 2017), Histórias da infância / Childhood Stories (MASP, São Paulo, 2016), XXIV São Paulo Biennial (1998) and 25th Panorama of Brazilian Art (MAM SP, São Paulo, 1997 ).
The upcoming exhibition is Edgard de Souza’s 19th solo show. He has previously had produced individual exhibitions in São Paulo, Rio de Janeiro, Belo Horizonte, New York, Amsterdam, Los Angeles and Mexico City.
In the gallery’s projection room, Sala Antonio, Dora Longo Bahia shows her recent production, Brasil x Argentina (Amazônia e Patagônia), completed in 2017.
Longo Bahia is currently participating in the Busan Biennale, South Korea, curated by Cristina Ricupero. She is also participating in the show Art, Democracy and Utopia, curated by Moacir dos Anjos at the Rio Art Museum (MAR), in Rio de Janeiro.
Longo Bahia has shown individually in institutions such as the Pinacoteca in São Paulo, The Joaquim Nabuco Foundation, The Aloísio Magalhães Museum of Modern Art, both in Recife; and, The Centro Cultural Recoleta, in Buenos Aires. The artist has participated in exhibitions such as the 35th Panorama of Brazilian Art and the 28th International Biennial of São Paulo. Dora Longo Bahia was the winner of the 4th edition of the ZUM / IMS Photography Grant.
Edgard de Souza presents new works that elaborates on one of his main areas of research - that of which surrounds the domestic environment and the movements of the body within that sphere. The domestic has always been present in the work of de Souza, be it in his sculptures of benches, vases, tables, chairs or cushions with anthropomorphic traits; be it in the works that somehow confronts the human body with itself. Additionally, de Souza's forms are ambiguous and fragmented, with vestiges of corporeity, desire, and eroticism. It is within this frictional space between the secluded private space and the impulse of a production directed at the public that de Souza takes his clues.
The works Cama [Bed] (2018) and Encosto [Backrest] (2018), both originates from the room he occupied at his parents' home in São Paulo during his youth. The furniture of the room was composed of pieces from Hobjeto, a furniture company founded in 1964 by the artist and designer Geraldo de Barros (1923-1998). The furniture designed by the company carried in them the constructive mark of the work of de Barros. Its modular furniture was produced using the same techniques as in de Barros’ iconic Formica paintings. The artistic production of de Barros was constructed from the deconstruction and fragmentation of both images and actions - procedures mirrored by de Souza who unfolds the pieces of his private childhood space into abstract and rearticulated fractions. Moreover, the works carry within them their formative environment both in appreciation of form and in method of construction. Both Encosto and Cama depart from the figurative object of their original form to return as the concrete abstractions found in the works of de Barros.
Edgard extends the modular articulation found in Hobjeto to his own work in his new bronze sculpture Untitled (2018). The work - produced within the logic of technical reproducibility - assume a new self-activated character being able to exist individually, as an edition, or as a new single work composed of various editions from the same matrix. The sculpture poses itself on tables, on the wall and also on the floor without having a correct final position for contemplation.
Body movements are also a central part of his new series of embroidery called R (2017-2018). Edgard takes the imprecise scribbles done in both large and small formats testing the limits of the reach of his movements - as seen in his recent solo show - and inverts them into a planned construction using cotton thread on linen surfaces. In the current show, the “action drawing” is taken in a diametrically opposite way by creating friction between the spontaneous previous drawings and the planned construction of the embroidery. Embroidery can be as erratic as scribbles - or punctual - as if they formed infections on the fabric. In both cases, they have in common the evidencing of the volume constructed from accumulation of material forming protuberances and thus breaking the bi-dimensional.
The surge of life drive embedded in everyday objects becomes evident in the series of sculpted wooden spoons that de Souza presents inside glass vessels. These apparently trivial objects, now endowed with impulses and desires, were meticulously sculpted from rare wood logs like mahogany and jacaranda from Bahia. In Colher lambe colher / Spoon licks spoon (2017) the wood comes to life through human features, and as a couple, the two spoons serve each other voluptuously. In Colher de pau - cara de pau (pinoquio) / Wooden Spoon – stick face (pinocchio) (2018) the utensil becomes as malicious as the character of Carlo Collodi. The lying spoon has its nose stretched out. Colher de pau - cara de pau / Wooden spoon - stick face (2018) is cheeky and sticks its tongue to the observer.
Another mundane object that surges with life is Torneira / Faucet (2018). This piece is from a series of faucets of outsized proportions that de Souza has been working on since the 1990s. From the mouth of the gold-plated bronze faucet flows a large drop resembling human secretion.
Dora Longo Bahia presents Brazil vs. Argentina (Amazon and Patagonia). The film, divided into two parts, shows the melting of the Argentine glacier and the destruction by fire of the Amazon forest. An overlapping text reveals the connection between football and political strategies in the two neighboring countries.
The film’s images were registered during the production of the Brazil vs. Argentina (Amazon and Patagonia) installation, presented at the 35th Panorama of Brazilian Art (MAM SP, 2017), a result from the ZUM/Instituto Moreira Salles grant awarded to the artist in 2016.
Directed by: Dora Longo Bahia
Cinematography: Dora Longo Bahia, Tomas Irici
Production: Dora Longo Bahia, Frederico Ravioli, Mathias Gatti, Tomas Irici
Direct sound: Tomas Irici
Sound editing: Bruno Palazzo
Music: “Destruição em crescimento” de Merda Seca
Edgard de Souza (Rooms 1 and 2)
Dora Longo Bahia – Brasil x Argentina (Amazônia e Patagônia) _ (Sala Antônio projection room)
OPENING: October 09th 8pm – 11pm
VIEWING: October 09th through November 10th 2018
Rua Minas Gerais, 350 _ 01244-010 _ São Paulo, SP
PHONE.: +55 11 3138 1520