i made an artwork using aluminun tape on wall in Brazil
i made an artwork using aluminun tape on wall in Brazil (Cubism, 1970–72), using it in a piece in Düsseldorf (Düsseldorf, 1971–72), or using it, as in Pesto coluna (Colonel painting, 1973–75), in Brazil (White painting, 1973–75) or in Antropofagia (Arc of sculpture, 1970–75). Here, the colored tape that covered the wall of the gallery served, like the arches of stones in the church, as a monument that, as Rosbergs theory would suggest, signals both the part of the human brain that is able to form a geometric figure and the part of the body that is endowed with the capacity for movement (Anthropometry, 1973).On a small stone, a white clay sculpture, Architexture a pauca (Architexture on a stone, 1970–79) (Architexture on a stone, 1970–79) was mounted on a large stone in the gallery. It was covered with a piece of white clay, which was part of a group of sculptures in the same material as the part of the sculpture, together with a woven textile. Architexture is a kind of wall sculpture in space: covered with a rope, it was suspended by a rod from the ceiling. This piece, which resembled a small quanquil, in which the left-hand quire was hung at the top, so as to form a cross-shaped box. Its title alludes to the power of the body and of a link between the body and the earth. Architexture was a slender slender cube, in the same way that the artists arms are slender, and that the connections between the delicate line that he made in the installation were carried by the rope. The strings attached to the ends of the rope created a network of figures that of their own accord were actually on the ground.
i made an artwork using aluminun tape on wall in Brazil. But he also painted small abstractions in acrylic on paper, made of stones, sticks, and other materials from home. Just as the two spaces are similar, the two artists, if different in their sensibility, are nonetheless both interested in the queer, literal presence of gender and the body in the intimate spaces of the body.The Brazilian capital, like the city of Sao Paulo, is a city of open spaces, and its people have formed a restless, often uneasy relationship to their citys architecture, and with it to their workplaces. From 2007 to 2011, the citys government had to contend with a wave of walking strikes, as also happened in Paris, and the protests escalated into a broader form of social unrest. Since then, austerity measures have been implemented, including plans to slash public spending by up to 80 percent, and to limit LGBT protections for public servants. Three years ago, the Brazilian artist Lina Daniel de Oliveira was elected president of Brazil by a supermajority of the countrys lower house of parliament, yet she has not won any new elected representatives to bolster the countrys progressive position on LGBT rights. The country is deeply conservative, so it seems unsurprising that the political tension and queer issues present in Brazil, which is known for its stringent anti-gay laws, are also visible in the art world. In fact, it is precisely through the stance of the artist that queer identities can be recognized and shared. This is clearly visible in the exhibitions title, which is taken from a line from Les Misérables (The lost generation): if we only speak our truth, no one will listen to us. And if we do not speak our truth, the road ahead is fraught with danger.Brazilians have indeed been returning the voice of the marginalized and the untouchable to art for some time. Aya Madrids solo show The Obscure featured a large number of such works that all emphasized the poetic and symbolically rich nature of the queer.
i made an artwork using aluminun tape on wall in Brazil. This work is an astutely composed or signature work of plastic sculpture and a few drawings. It presents the listener with an interaction with three small polyethylene bongs, which he/she holds against the wall and listens to with headphones. The bongs, like the other objects in the piece, are complex, often multi-coated, and frequently displayed on pedestals.The story of Hélio Oiticica is, in part, due to her role in the creation of the multinational industry in Brazil during the 70s. Oiticicas is considered one of the most important inventions of the country, and in 1982 her induction into the Hall of Monuments of the Americas in New York became an emblem of the international struggle for cultural independence. Oiticicas story also contains other hints that Brazil has made an important contribution to the development of global trade: For example, Oiticicas work was included in the landmark 1985 exhibition Art for All (Sur) at the São Paulo Bienal, which brought together about sixty contemporary artists from as far afield as South America, Europe, and Asia.Hendrick and Lynes video installation, What If I Have to Leave the Studio, 1986, is composed of photographic documentation of a studio visit by the artist to a large university in São Paulo, which she had never been to before. During this visit, she tried to determine what it would mean to leave the studio, and thus the video documents her attempt to figure out what leaving the studio might mean for her. She concluded that leaving the studio was not necessarily a bad thing, and that she was prepared to explore what it might mean to leave the studio. The video begins with a shot of the artist, standing before a large studio window in the style of a studio photographer, looking at a blank wall and the outside world. From this view, it appears that the blank wall is not only a visual blank but a physical blank as well.
, featuring acrylic paintings (or adobe) and photographs (most of which were taken in her native Rio de Janeiro) taken by the artists friends. The piece, entitled I am a dancer, 2007, was made by using a treadmill to move through her studio. Perhaps this is her way of saying that the images in her work are never exactly what they first appeared to be. In this show, which was organized by the local gallery Sompetto (Solo I—7 minutes ago), her seemingly endless actions were accompanied by photographs taken by her friends in the street and hung on the walls.A casual distance from the work of younger artists, her images are infused with a certain romanticism. But there is no mistaking the fact that Fischli has been using photography to examine the limits of artistic expression. The artist is no longer merely an image maker, as this series suggests. We recognize her as an artist—a storyteller, a researcher, a dancer, and a singer. We see her as an artist who is always on the verge of finding her own voice.
i made an artwork using aluminun tape on wall in Brazil.This is not a new idea. In many ways, it is a continuation of a cultural avant-garde that came to fruition in São Paulo in the late 70s, through the movement of the Universidad Autónomad, which initiated an anti-art agenda that has only intensified in the years since. São Paulo has a rich tradition of art and culture, dating back to the citys medieval beginnings, with masters from such art-world power centers as Fernando de la Núñez and Rodríguez Pérez de Canoas leading the way. Since then, the citys past has been completely lost in the contemporary flood of art—or so it would seem. Contemporary art in São Paulo consists of two types of work: participatory works, usually participatory and manifestial; and utilitarian sculptures and installations. The former, in the long run, has long been the dominant approach to the citys art scene, where it has been possible to meet contemporary artists with material or other assistance, and have them engage with the citys existing social life, or even take part in or take part in its social rituals. Thus, a number of local galleries have been able to turn their buildings into spaces for discussions and encounters, even in the face of the tremendous challenges of gentrification. Another group of exhibitions have explored the connection between contemporary art and architecture, and thus also provoked a certain kind of reconnection with art in its own right. In São Paulo, the engagement with the past, particularly that of urban spaces, has been conveyed through sculpture, a tradition whose history can be traced from antiquity to modernity.In the long run, it was not the same as doing something new for the city; this was not a choice of taking a risk. São Paulo is a city in the middle of the world, and this risk was expressed in a more oblique way.