2010 MUSEU DE ARTE CONTEMPORÂNEA DE LA UNIVERSIDADE DE SÃO PAULO
Installation views, For and Against and Por pintar la libertad de colores II
Group show, Contaminaciones contemporáneas, Museu de Arte Contemporânea de la Universidade de São Paulo
Organized by Paul Brike / Die Ecke Arte Contemporáneo
October 21, 2010 – March 27, 2011
////////////////////////////////////////////////////////////////////////////////////////////////////////////
////////////////////////////////////////////////////////////////////////////////////////////////////////////
For and Against consists of a series of geometric-based mural paintings that spread through different exhibitions cohabiting and interacting with other artworks and simultaneously activating space, aiming to transform the exhibition in a total-work. These works are planned considering architecture and dimensions of space, the distribution of other works, and the historical and social place that modernism has in Latin America. These mural paintings behave as positive and negative forces, promoting exchange, encounters, and interferences. Contaminating space.
Previous versions of this piece have taken place at group shows at Trust Projects, New York (2008), and at Museu de Arte Contemporânea da la Universidade de São Paulo (2010).
Por pintar la libertad de colores II is a digital video “slide projection” with computer renderings made from photographs of an art incident taken from The Internet. During the 2008 São Paulo Biennial (curated by Ivo Mesquita and Ana Paula Cohen), as a form of protest, a group graffiti youngsters invaded the invaded a section of the exhibition space that was purposely left empty. They sprayed walls and windows with Pichação, vandalizing space yet more important vandalizing the institutional critique originated by the curatorial team of the Biennial curators – which had been going through some difficult financial and structural problems due to the economic crisis in Brazil. The intention with this piece was to showcase that specific moment of contamination, shift its marginality back into the institution.
A previous version of this work was made in Rio de Janeiro in 2007 during a residency at Capacete, later exhibited in A Gentil Carioca. On that occasion, the drawings were 11 adhesive-vinyl on tin sheets made from graffiti found on the streets of Rio and political mural paintings from Chile found on the Internet.
….
