Contemporary Art in the Americas Arte Contemporáneo en las Américas

After Nature

Franz Manata & Saulo Laudares

São Paulo, Brazil 04/07/2018 – 06/23/2018

Installation view, 2018. Image courtesy of Sé, São Paulo.

ThePlace, 1998-2018. Image courtesy of Sé, São Paulo

Usutópico (cartaz), 2006. Image courtesy of Sé, São Paulo

After Nature: a proliferation of hybrids

The term “exhibition” has long been unable to define those contemporary artistic practices that absorbed the idea of expanding aesthetic experience beyond a modern project. The architecture that receives the works always ends up simulating fake neutrality (the white cube). It is hard to nullify layers of history, project and memory of expository contexts. Given the virtuality now provided by the digital age, the visitor’s body does not even need to be present on site. Within such a critical framework, what is the point of producing an exhibition whose aim is to act in the field of reality and question the economy of art?

“The social role of art has changed.” With this sentence, the Manata Laudares duo synthesizes its twenty-year collaborative work, developed from its interest in the universe of behavior and techno culture. After Nature is the name of a series of “open programs” that resume a base platform and add a new progressive fraction to it with each production.

The whole house is impregnated with an artificial atmosphere traversed by sound emissions. One could speak of an artistic occupation that displaces our attention towards our physical and social fabric. As precursors in Brazil of the synthesis between the art venue and the dance floor foreseen by Hélio Oiticica’s Cosmococa CC2 ONOOBJECT (1973), Manata Laudares has mapped electronic production and delivered its cold version coherent with the dystopic future of human civilization.

Now that the digital and virtual world provide power to include the other, it is appropriate to examine proposals that remained outside the logic of the manufacture of a pure object. Manata Laudares circulates among various fields of knowledge, from embroidery to sculpture, from taxonomy to biology. The duo creates a synthetic-real environment, bringing conceptual reminiscences (from John Cage to Guilherme Vaz) to re-propose the endangered poetics of romantic walks. The concept of panorama, prior to the invention of photography, returns here in the landscape theme with concrete, manufactured and represented elements.

Sharing, collaborating and transferring the use of “products” to the public are the three fundamental operations that guide a networked thinking whose visibility has remained hidden from the formal market system, even as they act intensely in the political economy of the arts. Maybe the duo’s Minas Gerais origins are the reason for its anity with tradition, which leads to the melancholy of the irremediable proliferation of hybrid subjects and objects.

— Lisette Lagnado

http://www.segaleria.com.br

Installation view, 2018. Image courtesy of Sé, São Paulo.

ThePlace, 1998-2018. Image courtesy of Sé, São Paulo

Usutópico (cartaz), 2006. Image courtesy of Sé, São Paulo

After Nature: a proliferation of hybrids

The term “exhibition” has long been unable to define those contemporary artistic practices that absorbed the idea of expanding aesthetic experience beyond a modern project. The architecture that receives the works always ends up simulating fake neutrality (the white cube). It is hard to nullify layers of history, project and memory of expository contexts. Given the virtuality now provided by the digital age, the visitor’s body does not even need to be present on site. Within such a critical framework, what is the point of producing an exhibition whose aim is to act in the field of reality and question the economy of art?

“The social role of art has changed.” With this sentence, the Manata Laudares duo synthesizes its twenty-year collaborative work, developed from its interest in the universe of behavior and techno culture. After Nature is the name of a series of “open programs” that resume a base platform and add a new progressive fraction to it with each production.

The whole house is impregnated with an artificial atmosphere traversed by sound emissions. One could speak of an artistic occupation that displaces our attention towards our physical and social fabric. As precursors in Brazil of the synthesis between the art venue and the dance floor foreseen by Hélio Oiticica’s Cosmococa CC2 ONOOBJECT (1973), Manata Laudares has mapped electronic production and delivered its cold version coherent with the dystopic future of human civilization.

Now that the digital and virtual world provide power to include the other, it is appropriate to examine proposals that remained outside the logic of the manufacture of a pure object. Manata Laudares circulates among various fields of knowledge, from embroidery to sculpture, from taxonomy to biology. The duo creates a synthetic-real environment, bringing conceptual reminiscences (from John Cage to Guilherme Vaz) to re-propose the endangered poetics of romantic walks. The concept of panorama, prior to the invention of photography, returns here in the landscape theme with concrete, manufactured and represented elements.

Sharing, collaborating and transferring the use of “products” to the public are the three fundamental operations that guide a networked thinking whose visibility has remained hidden from the formal market system, even as they act intensely in the political economy of the arts. Maybe the duo’s Minas Gerais origins are the reason for its anity with tradition, which leads to the melancholy of the irremediable proliferation of hybrid subjects and objects.

— Lisette Lagnado

http://www.segaleria.com.br

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