Art Brussels 2022
André Romão
Daniel Gustav Cramer
Joana Escoval
João Queiroz
José Pedro Croft
Booth C51 – Avenue du Port 86c, Brussels
28 April – 1 May 2022
For the 38th edition of Art Brussels, Galeria Vera Cortês is delighted to present a selection of artists whose practice challenges the logics of perception, allowing the spectator to enter and explore different worlds, and to question the one we currently inhabit.
GALERIA VERA CORTÊS, booth C51, Art Brussels 2022. Photo: GRAYSC.
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GALERIA VERA CORTÊS, booth C51, Art Brussels 2022. Photo: GRAYSC.
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GALERIA VERA CORTÊS, booth C51, Art Brussels 2022. Photo: GRAYSC.
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The sculptures of André Romão are in a continuous metamorphosis, located in a territory where normal interactions between bodies and entities are suspended or blurred, at the border between human and animal and the natural and artificial and questioning notions of economics, eroticism, violence, and appropriation.
André Romão, Hand (Mercé), 2021. Wooden sculptural fragment (Portugal 1700’s), camelia. 140 x 60 x 50 cm (approx). Unique. Photo: GRAYSC.
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André Romão, Hand (Mercé), 2021. Wooden sculptural fragment (Portugal 1700’s), camelia. 140 x 60 x 50 cm (approx). Unique. Photo: GRAYSC.
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André Romão, Wounded bird, 2021. Sculptural fragment (gilded wood, France, late 1700’s), vanadinite crystal, cardbox. 32 x 49 x 23 cm. Unique
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André Romão, Fox song (light), 2021. Sculptural fragment (Portugal c1900), plaster, electrical components. 40 x 40 x 40 approx. Unique. Photo: GRAYSC.
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GALERIA VERA CORTÊS, booth C51, Art Brussels 2022. Photo: GRAYSC.
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Each of Daniel Gustav Cramer’s portraits opens a gate to the invisible. They connect with absent individuals the artist has met, be it for a moment – the blink of an eye, of an epiphany – or over the course of several weeks or months. Cramer’s portraits connect with other absent individuals, those who inhabit a different realm: actors, writers and historical figures. Cramer is also interested in the idea of memory and the infinite, which he explores via books and archives as medium and subject.
Exhibition video: Portraits, Daniel Gustav Cramer. Galeria Vera Cortês, 2021.
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Daniel Gustav Cramer, Sand, 2021 (detail). Shelf, table, 14 books. 103 × 91 × 32.5 cm
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Daniel Gustav Cramer, Untitled (Monkey), 2008. Framed photograph. 5
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Daniel Gustav Cramer, Tales 44 (Stresa, Lago Maggiore, Italy, September 2012), 2013. C-print, framed. 6 x (25.5 x 20.5 cm). Ed. 5
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Daniel Gustav Cramer, Carte du Ciel I, 2012. C-print. 134 x 112 cm
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Joana Escoval’s works are passages, open-ended invisible paths. The rhythm and fluidity of the elements she uses in her work are temporarily suspended in time, and will eventually follow their natural transition and transmission into other states of matter, keeping their new-found charges and vibrations from when they were sculptures. Whichever form they’re found in (mostly metals compounded or purified, mixed as alloys or mixed with other materials), these elements are charged with energies that unite beings and objects, the material and the spiritual. Escoval blurs the borders between what we are so used to calling “nature” and “culture,” and emphasises instead how everything is entangled and connected, seeing “nature” and its cycles beyond a western point-of-view—and most of all seeing it as something that is not separate from us.
Exhibition video: WIND DREAMS, Joana Escoval. Galeria Vera Cortês, 2022.
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Joana Escoval, Even the best mixture of clay, sand, and rock will become sterile if it is not nourished, 2022. Earth, water, fire, air. 43 x 36 x 15 cm. Unique
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Joana Escoval, Using what you have to remember what you saw (III), 2018. Gold, glass. Approx. 70 x 12 x 14 cm. Unique
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Joana Escoval, It dreams that it’s always waking, 2022. Fusion of metals (brass), glass, air. 40 x 47 x 11 cm. Unique
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Joana Escoval, Ash and fire were mixing in midair with the rain, 2022. Earth, water, fire, air. 120 x 38 x 29 cm. Unique
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Joana Escoval, Ash and fire were mixing in midair with the rain, 2022. Earth, water, fire, air. 120 x 38 x 29 cm. Unique
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GALERIA VERA CORTÊS, booth C51, Art Brussels 2022. Photo: GRAYSC.
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João Queiroz’ landscape paintings have the objective of avoiding a categorical approach that limits the perception of what is really there and to bring back the sense of estrangement that we have lost in relation to nature and, to some extent, also in relation to art itself as the result of passive contemplation.
João Queiroz, Untitled, 2022. Oil on canvas. 123 x 168 cm. Unique. Photo: GRAYSC.
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GALERIA VERA CORTÊS, booth C51, Art Brussels 2022. Photo: GRAYSC.
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José Pedro Croft sculptures and drawings explore the domain of perception, engaging in extremely complex dialogues with the space and the context surrounding them, but also with the shapes and volumes defining them as tangible objects.
José Pedro Croft, Untitled, 2009. Zinc plated iron and synthetic paint. 113 x 262 x 6 cm. Unique
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José Pedro Croft, Untitled, 2020. Varnish and Indian ink. 153 x 275 cm. Unique
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José Pedro Croft, Untitled, 2021. Aquatint, etching, mezzo point and dry point. 77,7 x 95 cm (framed). Ed. 12 + 3 HC
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José Pedro Croft, Untitled, 2021. Aquatint and etching. 64,7 x 58,5 cm (framed). Ed. 12 + 3 HC
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Current exhibition at Galeria Vera Cortês:
Diversions, Céline Condorelli. On view until May 7.
GALERIA VERA CORTÊS, booth C51, Art Brussels 2022. Photo: GRAYSC.
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Exhibition view: Céline Condorelli, Diversions, Galeria Vera Cortês, 2022
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