Review | The project called 9...

Generated on 2020-12-10 21:38:17

Result #1

In order to set up this group of artists, Moraes and Fujioka had to differentiate themselves from those who would present themselves in their theatrical performances. They made their statement by creating a reality that was defined and lived through in a certain period of time. Moraes and Fujioka created a wonderful work with the characters of the nursery and which reflects the light of their vision.The nursery was a typical environment that the pair of them set up together in a brightly lit room, in which their drawings of each character were suspended. One could see that the drawings were not abstract nor purely sculptural, but rather quite personal, pure and honest expressions of their personalities. The drawings have become instruments of communication between the two characters that were at odds. Each character is named after a letter of the alphabet used in Portuguese. One of the characters uses a symbol that means SOU, an anagram of the letter sô, which means outside of the world. This is a testament to the writers intellectualization of the language. The nursery is a very private environment, which only those who learn it will be able to communicate with each other. The creation of a life in drawings is a reflection of the life of the mind.Moraes and Fujioka had created a world which is intensely passionate, an atmosphere that is able to take on new meanings. They have created a world that does not lose its intensity, the energy that still remains.

Result #2

The project called 99971 (3345) 50M15540Bhs21 was conceived by the artists and designers João Fujioka, lucas Guimarães and raiana Moraes. Established in the city which they live, rio de Janeiro, Brazil. The project aims to encourage a change in society opening the perception about diversity and the creation of expansive and unified mechanisms. The idea arose from the perception about the powerful place that is the -nonplace-(ambiguity place). We live now in a world full of polarities. For us, the future is a world where you can float between those polarities and pick the best from each side withou having to define yourself permanently. We live in rio de janeiro, brazil, a very charachteristic place that has diversity as it’s main characteristic. The north is cold, and the south is hot. People do not mix; they live at the poles, and polar elements are not meted out to all.The idea of a changing world was the central theme of this piece by Séléka Vides, a twenty-five year old artist living in Rua do Paisagua. The piece was titled The Polarities and the Contingencies of Political Participation, and the mind›tricity of its conception was expressed by the artists body activities. She carried out the most important part of her activity, always speaking in broad and brief phrases, while at the same time she exercised self-mimetic activities. Each time she spoke her body, mind and mind were engaged, as they were in each corresponding moment. So, for example, when she came out onto the street to accept a bouquet from a passerby, her voice was normal; but when she turned around to go to a post office, her voice dropped completely, she stopped talking. She simply took a walk. It was a simple, a natural gesture. In contrast, the time it took her to return, walking, was a time that may not have been so simple.She carried out the work by sitting, standing up, falling, walking, swimming, standing, standing up again, standing down and falling down, making different sounds, doing different things, repeating different actions. It was a journey, and in it was a glimpse of the world, of the world as an ensemble of temporal registers. And what a glimpse it was, because everything was something that we could do and not something that we could do alone.Videss work is a praxis of impersonality, of the silent and the profane, of the political as an activity of action. She makes the body a sign that allows it to be seen as an active agent, a passive recipient of gestures and actions.

Result #3

The ambience is one of constant feeling, with two equally ambivalent means of transmitting it. One is subjective, reflecting on the possibilities of the mind, the other is visual, focusing on objects, an activity that both individuals and society can participate in and that gives the city a characteristic character. The city is a samba, a game of hide-and-seek with both real and virtual prizes, and the only ground is the fashions of the day, created by fashion designers and luxury designers alike. Themes have to do with the image of the city, with those who play the role of guardians of its spaces and identifying it with the work of art. The tasks of a fashion designer are those of the artist, who describes its characters and desires. The theme of the city, with its various architectural phases, is nothing other than the development of personal images by popular culture; the images of the city are not being transmitted by a professional agency, but by the creative spirit of the individual who organizes them into photomurals and photoplay. This may be the theme of the exhibition, yet it is not the main theme of the exhibition, which is diversity and the social relationship.

Result #4

The project called 99971 (3345) 50M15540Bhs21 was conceived by the artists and designers João Fujioka, lucas Guimarães and raiana Moraes. Established in the city which they live, rio de Janeiro, Brazil. The project aims to encourage a change in society opening the perception about diversity and the creation of expansive and unified mechanisms. The idea arose from the perception about the powerful place that is the -nonplace-(ambiguity place). We live now in a world full of polarities. For us, the future is a world where you can float between those polarities and pick the best from each side withou having to define yourself permanently. We live in rio de janeiro, brazil, a very charachteristic place that has diversity as it’s main characteristic. Diversity includes many shades of traditionalism, from the pastoral to the modern, from the sacred to the political. The polarities are also cyclical: some are both ocean and land, some are neither and vice versa. The world is a place where a cyclical life is embodied in the elements.The world is also a place where two polar opposites are intertwined: a mother and child, the earth and sky, and an inner turmoil, the voice. The three sections of João F. F. Fazso Nogar, of which they are a part, were the first in an ongoing series of installations which he is currently creating.Nogar, who is also a poet, has been a passionate proponent of the power of performance since the late 80s. His works reflect his enthusiasm for the contemporary art, and for an art that strives to transform the image of the artist into the image of society. In recent years, he has created installations that provide an interactive situation for the viewers, who are transformed into participants. In his recent work, Nogar spoke with images and sounds from his own life, childhood and adolescence; these images and sounds formed the basis of Nogars most recent installation, 99971 (3345).Nogar used most of the space of the gallery to display his work. This installation consists of three video monitors showing images and sounds of performances in the past. The person watching them plays a part in a world that has changed; now they are anonymous. The world is a place where the actions of a few become those of an entire community, where political, cultural, economic and existential concerns can be presented in dialogue. The action is the projection of a personal image onto a public site, and, therefore, an appropriation of public space. The video monitors are placed on a simple white pedestal, with a couple of television sets visible on the pedestals.

Result #5

The project called 99971 (3345) 50M15540Bhs21 was conceived by the artists and designers João Fujioka, lucas Guimarães and raiana Moraes. Established in the city which they live, rio de Janeiro, Brazil. The project aims to encourage a change in society opening the perception about diversity and the creation of expansive and unified mechanisms. The idea arose from the perception about the powerful place that is the -nonplace-(ambiguity place). We live now in a world full of polarities. For us, the future is a world where you can float between those polarities and pick the best from each side withou having to define yourself permanently. We live in rio de janeiro, brazil, a very charachteristic place that has diversity as it’s main characteristic. And we have a very strong tradition, that is not the only quality of the country that is both rich in culture and a great place to live. Thus, the exhibition Zú Bento, apressão em suário (Zablon, After Zablon), 2004–2005, presented many different views on the country as it is and as it should be. The project was a sort of cultural partition: One section presents visual, material, and ethical work, the other presents a mixture of the two.It is not easy to determine the difference between the two, but for this show the city of Rio de Janeiro was transformed into a kind of oasis. The walls, windows, and doors were covered with colorful and brightly colored signs, from todo do que nada (Where Do We Come From) to lee paisagem, no lege (Here All Is Forgotten), to the word in Portuguese, A ferre das marineros (The Diamond As a Miner). These were juxtaposed with those very yellow signs. Painted on the walls and on the windows were a series of photographs of blue boats at night that the artist had taken from a boat on the beach. Sometimes the water was calm, sometimes it was full of waves, sometimes they were all very much the same. A steel pan the artist had used to create a black band across the horizontal surface of the steel, Falle Antropofale (Portrait of Falle Antropofale), 2003, was visible through the pan and made an easy interpretation of the two signs on the panels that read Falle de Bel e o te o te y sulla gimis, o o o te o o te o te o se me ensinuate (All Things Mean, For Others). Their intense colors are almost reminiscent of Katarina Sillanęskis work.