What if one breaks the dusty lenses?
April 1–May 10, 2015
Instituto Tomie Ohtake
Av. Faria Lima 201 (entrance at Rua Coropés)
Pinheiros SP
Brazil
Hours: Tuesday–Sunday 11am–8pm
Admission free
T +55 11 2245 1900
comunicacao [at] institutotomieohtake.org.br
www.institutotomieohtake.org.br
Instituto Tomie Ohtake presents the third edition of its Arte Atual program. Conceived by the Institute’s Curating and Research Department (Núcleo de Pesquisa e Curadoria – NPC), the initiative consists in collective exhibitions in which new or recent experimental projects in the city are developed by emerging artists, in dialogue with the curators and the support of their galleries. This edition—titled What if one breaks the dusty lenses?—features Eduardo Berliner, Marcone Moreira and Thiago Rocha Pitta, respectively represented by Casa Triângulo, Blau Projects and Millan galleries.
The exhibition brings together artists who raise questions about certainties established by scientific beliefs, technical devices and logical systems underlying our comprehension of the world. Presenting the latest developments in their respective researches, the artists appear to be looking for alternatives to well-established sources of knowledge. In order to do so, they turn to other references ranging from Amazonic cultures to entropic aspects of nature, including praxes directed by intuition and chance. Eduardo Berliner, Marcone Moreira and Thiago Rocha Pitta, each in their own way, crack the dusty lenses—here understood as a metaphor for the dominant and conventional wisdom—and suggest a new perspective of the world.
Artists and works:
Eduardo Berliner (b. 1978, Rio de Janeiro, RJ)
The premise that painting’s temporality diverges of the acceleration of an ephemeral and continuous flow of media images underlies much of Eduardo Berliner’s work. Intrinsic both to the painter’s practice and to the beholder’s reception of his work, duration and time unfolds in a intuitive and resilient process in which the characteristics of the different materials play a important role. This may also condition the artist’s approach to the many other media he employs. Drawing, photography, video and sculpture are sometimes understood in a pictorial way and respond to it in a associative process.
Marcone Moreira (b. 1982, Pio XII, MA)
The economic cycles’ effects in the natural and social landscape of Amazonia are central to Marcone Moreira’s work. More particularly, the artists considers mobility and circulation phenomena in relation to both material goods and people. For the exhibition, the artist presents Territórios líquidos (Liquid Territories, 2015), an installation including a number of sculptures resulting from the fragmentation of vessels used in the Amazon region. The installation also features the video Horizonte de ferro (Iron Horizon, 2014), registering the journey of the Carajás Railroad, that connects Pará to Maranhão states.
Thiago Rocha Pitta (b. 1980, Tiradentes, MG)
The observation of prosaic events, natural phenomena and the action of time is one of the starting points of Thiago Rocha Pitta’s work. Mapas temporários de uma terra não sedimentada (Temporal Maps of Non-Sedimented Land, 2015) consists in a set of five videos depicting erosion and subtle changes induced by the artist in the desert of Argentina that evoke the ungoing metamorphosis of the natural environment. Beyond the meditative and contemplative dimension of these images, the videos suggest that the mutability of these terrains can be read both as a mirror of a subjective and inner landscape and as a metaphor of the instability of borders and territories.
Coordinated by Paulo Miyada and formed by Carolina de Angelis, Julia Lima, Olivia Ardui and Priscyla Gomes, the Curating and Research Department (Núcleo de Pesquisa e Curadoria – NPC) of Instituto Tomie Ohtake has been researching Brazilian art since 2011. Having undertaken exhibition and research work such as the Timeline of Brazilian Art, NPC has curated exhibitions such as Estranhamente Familiar (Unheimlich), Medos Modernos (Modern Fears), Cheio de Vazio (Plenty of Emptiness) and Canções de Amor (Love Songs).
