André Romão, Atlântico, 2021. Suitcase, polyurethane, plaster, paint, mussels, limpets, barnacles, epoxy resine. 36 x 53 x 36 cm approx.
André Romão, Atlântico, 2021 (detail). Suitcase, polyurethane, plaster, paint, mussels, limpets, barnacles, epoxy resine. 36 x 53 x 36 cm approx.
André Romão, Head on a case, 2019. Sculpture fragment (plaster, England 1980), quartz geode, plexiglass. 125 x 80 x 28 cm
André Romão, Head on a case, 2019 (detail). Sculpture fragment (plaster, England 1980), quartz geode, plexiglass. 125 x 80 x 28 cm
André Romão, Medusa, 2021. Tree branch, sculpture fragment (plaster, France 1600’s). 87 x 20 x 24 cm
André Romão, Medusa, 2021. Tree branch, sculpture fragment (plaster, France 1600’s). 87 x 20 x 24 cm
Carlos Bunga, Casa, Galeria Vera Cortês, 2021.
Carlos Bunga, Before the White Cube #10, 2020. Acrylic on cardboard and latex on wall. 12,3 x 12,3 x 4 cm
Carlos Bunga, Before the White Cube #9, 2020. Acrylic on cardboard and latex on wall. 12,3 x 12,3 x 4 cm
Bunga’s interest in the intersection between the past and the present was the key of the previous works ‘Intersection Series’, in which the perimeter of the piece as well as the wall was white, constructing the illusion of a non-space where the work was central and the context neutralized. In Before the White Cube, Bunga chooses the interior color of the piece but uses the wall colors of Prado Museum for the perimeter, in an attempt to bring social and political context as well as other issues that were once excluded from inside the white cube. The work exists in between architecture, painting and sculpture attempting to confront and rethink the conventional ideas of disciplines, display and installation.
Carlos Bunga, Before the White Cube #7, 2020. Acrylic on cardboard and latex on wall. 20 x 20 x 4 cm
Carlos Bunga, Before the White Cube #8, 2020. Acrylic on cardboard and latex on wall. 13,5 x 17,2 x 4,1 cm
This work speaks of limits: both those which determine the contours of our movements, those which prevent us from physical access to a place, and those which we are authorized to cross. Indirectly, it speaks of the nature of the spaces to which specific functions are assigned. Limits to play implies the inability to participate, and therefore the exclusion of certain members of society, here women on sports grounds which were prohibited to them. Each sport ground bears the date at which women were first allowed to play it in public.
Céline Condorelli, Pattern Study for Playgrounds (Lina Bo Bardi, first proposal for a Museu de Arte de São Paulo, 1965), 2017. Hand drawing on inkjet print on 100% cotton paper. 119 x 84 cm. Unique
These series present case studies that Condorelli has been using within her ongoing research into ideas of the playground as a tool to achieve social and subjective change within the city fabric. Playgrounds or play objects articulate certain ideas of what playing, childhood and therefore culture are. On a very direct level, the encounter with the built environment that playing describes is a physical one, grappling and measuring oneself with and against the world as it is, touching, climbing, holding, testing the possibilities of that encounter, figuring out how form can be used.
This drawings introduces part of Lina Bo Bardi’s vision for the Museum of Art of São Paulo demanding museums to take responsibility for public and popular programmes, as well as for being playable in some way by including a playground as part of their programme.
Céline Condorelli, Study for Tools for Imagination (The playgrounds and play objects of Aldo van Eyck, Amsterdam, 1947- 1968), 2017. One colour silk screen and inkjet print on 100% cotton paper. 119 x 84 cm. Edition of 3 + 1 AP
Céline Condorelli, More permanent than snow, 2019. Polyurethane, sand. (17 x) variable dimensions. Ed.1/2
Céline Condorelli, More permanent than snow, 2019 (detail). Polyurethane, sand. (17 x) variable dimensions. Ed.1/2
José Pedro Croft, Untitled, 2020. Graphite, gouache, varnish and Indian ink on paper. 113 x 149,5 cm
José Pedro Croft, Untitled, 2021. Graphite, gouache, varnish and Indian ink on paper. 202 x 180 cm
José Pedro Croft, Untitled, 2020. Graphite, gouache, varnish and Indian ink on paper. 199 x 210 cm
José Pedro Croft, Untitled, 2020. Graphite, gouache, varnish and Indian ink on paper. 125,5 x 110 cm
José Pedro Croft, Untitled, 2021
Galvanized iron, painted iron, glass
620 x 850 x 790 cm
Frieze Sculpture 2021
José Pedro Croft, Untitled, 2021 (detail)
Galvanized iron, painted iron, glass
620 x 850 x 790 cm
Frieze Sculpture 2021
José Pedro Croft, Untitled, 2021
Galvanized iron, painted iron, glass
620 x 850 x 790 cm
Frieze Sculpture 2021
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