Is difficult to perform critical from within. Mingling with the object, diluting the boundaries. For criticism presupposes distance. How to insert a “judgment” while belonging, without generating a backlash? Establish critical that seeps gently and, ultimately, shares the ethos of what disputes, ie, it is like a suspicious sister, who loves, but looks askance.
“Marcos Chaves surprises meanings and values that are immersed in vulgar things, dissimulated by habit or convention. He makes unpredictable displacements and produces assemblages in a tone of parody distilling his acute observations of the world, from technology to rubbish.”
Trecho do programa de tv sobre arte contemporânea, Catálogo, criação do diretor Marcos Ribeiro. Produzido pela TV Imaginária Produções, é uma realização do canal de tv á cabo, Canal Brasil.
A artista plástica Adriana Varejão comenta a publicação de sua obra no livro “Entre carnes e mares”. Entrevista publicada originalmente no site Saraiva Conteúdo
It’s definitely a force. But it’s not about architecture or art. Despite the monuments, which are dead matter, the strength lies in the living stone. Minas Gerais is pure stone. According to acupuncture, there are certain points in your body that you’re not aware of, but when one is pierced by a needle it feels as if you’re tuning it.
One of the most original voices in contemporary Brazilian art, Adriana Varejão’s diverse practice comprises painting, sculpture, photography and installation. Her sources are many – baroque art, colonial history, architectural ruins, natural sciences and theatre.
One of the most original voices in contemporary Brazilian art, Adriana Varejão’s diverse practice comprises painting, sculpture, photography and installation. Her sources are many – baroque art, colonial history, architectural ruins, natural sciences and theatre. Blurring the boundaries between painting and sculpture,
Varejão’s previous series’ of work chart a unique development of ideas and common thread of research. From the mid-1990s, the artist explored two juxtaposing motifs within her practice -flesh and tiles (or azulejos). The Jerked-beef ruin series (2000 – 2004) are likened to contemporary ruins, where the painted surfaces of floor and wall-based sculptural works are violently ruptured to expose a visceral flesh-like interior, providing a stark contrast to the cold tiled surface.