Contemporary Art in the Americas Arte Contemporáneo en las Américas

Suite

Renata de Bonis

Coletor São Paulo, Brazil 11/08/2014 – 11/29/2014

Renata De Bonis Suíte Parte #1

Renata De Bonis Suíte Parte #2 3

Renata De Bonis Suíte Parte #2 2

 

“There is no possible salvation other than the imitation of silence (…)” E. M. Cioran

On the contrary route to the verbosity of cities and its spectacular narratives, the work of Renata De Bonis has been developed by means of a lowering of expectations. With a vocation for the wilderness and the naturalist tract common to the geologist to deal with the things, what we find in her work are the qualities reserved for the exercise of the retreat and the ability to give back to landscapes and insignificant details their full potential.

As of two gestures that explore with new impetus her known verve, “Suite” is born under the sign of silence. The first relies on a literal appropriation that embodies the word to serve to a large installation at the top of the house, in a language game that ventilates more than one semantic possibility. The second intervenes in order to subtract architectural content, and cuts off possible answers by opening a bewildering angle in the floor of a room. One rises and takes the exhibition space to the whole surrounding region while the other jumps into the soil and retreats itself in a specific point.

If from the actions that gives its shape its negative élan is revealed, it’s clear from the outset the intention to think against itself. As soon as it acts it is to suggest an acute aphonia and an oblique cut in what we take for granted and fundamental. This tension throws us into an indissoluble clash between the inopportune of coming into the world and the temptation to exist. It is as if it was necessary to move to arrive to Nothing, in a balance that interrogates its own condition while allowing itself to be attracted by the shine and amplitude of emptiness.
The other works composing this exhibition arise from the slit which opens from these two vertical opposed marks. “Part #3” and “Part #4” are collections from the residues taken from the ground. The earth and concrete pieces that were used in the skeleton of the subterranean gains the surface in an operation that deliberately manages the cycles of construction and demolition to reprogram the roles in the common narrative. These are volumes that at the same time remits to small geographical features and points out the future of the site in which they find themselves: an enormous construction site that will later originate huge buildings.

In “Part #5” the cartographic notions of the house are mixed up. The second floor, a space that remains veiled whenever there are visitors, is brought to the social center by the mediation of devices usually used as security instruments. On the monitors what we see is a mythology of oblivion, capable of creating a tissue that makes it possible to interpret the history of the spot. In this sense, Renata makes known the prosaic minutiae of an old habitation – transferred by a short term loan and to be sequentially demolished; and brings out the negotiations that allow the exhibition itself to happen.

As a single piece divided into different parts – all available to a generic nomenclature – this suite may be that of the connotation of music, geography or the domestic environment. Anyway, this is a foray – the result of almost a year of attendance in the place – the developments of which always point to the vacuity at the expense of the unique possibility worldly speech; and asserts that what is possible for it to tell will always be less important than what it shuts up; than it’s silent depths.

Germano Dushá

Link : http://coletor.org/

Renata De Bonis Suíte Parte #1

Renata De Bonis Suíte Parte #2 3

Renata De Bonis Suíte Parte #2 2

 

“There is no possible salvation other than the imitation of silence (…)” E. M. Cioran

On the contrary route to the verbosity of cities and its spectacular narratives, the work of Renata De Bonis has been developed by means of a lowering of expectations. With a vocation for the wilderness and the naturalist tract common to the geologist to deal with the things, what we find in her work are the qualities reserved for the exercise of the retreat and the ability to give back to landscapes and insignificant details their full potential.

As of two gestures that explore with new impetus her known verve, “Suite” is born under the sign of silence. The first relies on a literal appropriation that embodies the word to serve to a large installation at the top of the house, in a language game that ventilates more than one semantic possibility. The second intervenes in order to subtract architectural content, and cuts off possible answers by opening a bewildering angle in the floor of a room. One rises and takes the exhibition space to the whole surrounding region while the other jumps into the soil and retreats itself in a specific point.

If from the actions that gives its shape its negative élan is revealed, it’s clear from the outset the intention to think against itself. As soon as it acts it is to suggest an acute aphonia and an oblique cut in what we take for granted and fundamental. This tension throws us into an indissoluble clash between the inopportune of coming into the world and the temptation to exist. It is as if it was necessary to move to arrive to Nothing, in a balance that interrogates its own condition while allowing itself to be attracted by the shine and amplitude of emptiness.
The other works composing this exhibition arise from the slit which opens from these two vertical opposed marks. “Part #3” and “Part #4” are collections from the residues taken from the ground. The earth and concrete pieces that were used in the skeleton of the subterranean gains the surface in an operation that deliberately manages the cycles of construction and demolition to reprogram the roles in the common narrative. These are volumes that at the same time remits to small geographical features and points out the future of the site in which they find themselves: an enormous construction site that will later originate huge buildings.

In “Part #5” the cartographic notions of the house are mixed up. The second floor, a space that remains veiled whenever there are visitors, is brought to the social center by the mediation of devices usually used as security instruments. On the monitors what we see is a mythology of oblivion, capable of creating a tissue that makes it possible to interpret the history of the spot. In this sense, Renata makes known the prosaic minutiae of an old habitation – transferred by a short term loan and to be sequentially demolished; and brings out the negotiations that allow the exhibition itself to happen.

As a single piece divided into different parts – all available to a generic nomenclature – this suite may be that of the connotation of music, geography or the domestic environment. Anyway, this is a foray – the result of almost a year of attendance in the place – the developments of which always point to the vacuity at the expense of the unique possibility worldly speech; and asserts that what is possible for it to tell will always be less important than what it shuts up; than it’s silent depths.

Germano Dushá

Link : http://coletor.org/

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