Contemporary Art in the Americas Arte Contemporáneo en las Américas

Geraldo Industrial

Geraldo de Barros

Luciana Brito Galeria São Paulo, Brazil 11/05/2016 – 12/01/2016
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Geraldo Industrial, exhibition view, 2016. Courtesy of Luciana Brito Galeria. Photo: José Pelegrini.

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Geraldo Industrial, exhibition view, 2016. Courtesy of Luciana Brito Galeria. Photo: José Pelegrini.

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Geraldo Industrial, exhibition view, 2016. Courtesy of Luciana Brito Galeria. Photo: José Pelegrini.

The exhibition, idealized by Fabiana de Barros and Leonora de Barros, brings an overview of the artist’s production, spanning through the many diverse fields of artistic expression.

Geraldo de Barros maneuvered between painting, photography and furniture design, attaining vast artistic practice. The procedures and techniques developed by the artist, which were implicit in such activities, though seemingly diverse, were in fact all part of a single creative process. The exhibition Geraldo Industrial seeks to engage the public with this rich process of work, illustrated by a precise selection of paintings, photographs and furniture -all signed by Geraldo de Barros, addressing the multiple nature of the artist, who was one of the pioneers in Brazil’s Concretist movement.

For the first time since the moving of its headquarters, a single artist occupies the entire exhibitive space at Luciana Brito Galeria. The exhibition features iconic works by Geraldo de Barros, such as a formica set, which are part of the series Jogos de dados, exhibited for the first time in the 1986 Venice Biennale, and belonging to Unicamp’s Museu de Artes Visuais in Campinas. Preparatory drawings related to the works produced in the 1980s, which are a part of the Inhotim collection, are also displayed. Aside from being reserved to one of the exhibitive spaces at the gallery, the reconstitution of a room whose furniture is authored by the artist, rebuilds his years of experience across the Unilabor (1954 -1967) and HObJEto (1964 – 1989) companies.

In the gallery’s attachment, ten unprecedented serigraphs are exhibited (72 x 72 cm), edited post-mortem especially for the exhibition. The serigraphs summarize Geraldo de Barros’ thoughts during the development of the series Jogos de dados.

It was by bringing art to the quotidian, be it through furniture or be it through the use of a typically industrial means of production in the making of the formicas or even in his photos, that Geraldo fulfils the modern intention of art socialization. Beyond allowing for a walk through his trajectory, the exhibition Geraldo Industrial allows the public to get in touch with this very intention, through the selection of bold works.

http://www.lucianabritogaleria.com.br/

_dsc8175b-jose-pelegrini

Geraldo Industrial, exhibition view, 2016. Courtesy of Luciana Brito Galeria. Photo: José Pelegrini.

_dsc8198

Geraldo Industrial, exhibition view, 2016. Courtesy of Luciana Brito Galeria. Photo: José Pelegrini.

_dsc8306b-jose-pelegrini

Geraldo Industrial, exhibition view, 2016. Courtesy of Luciana Brito Galeria. Photo: José Pelegrini.

The exhibition, idealized by Fabiana de Barros and Leonora de Barros, brings an overview of the artist’s production, spanning through the many diverse fields of artistic expression.

Geraldo de Barros maneuvered between painting, photography and furniture design, attaining vast artistic practice. The procedures and techniques developed by the artist, which were implicit in such activities, though seemingly diverse, were in fact all part of a single creative process. The exhibition Geraldo Industrial seeks to engage the public with this rich process of work, illustrated by a precise selection of paintings, photographs and furniture -all signed by Geraldo de Barros, addressing the multiple nature of the artist, who was one of the pioneers in Brazil’s Concretist movement.

For the first time since the moving of its headquarters, a single artist occupies the entire exhibitive space at Luciana Brito Galeria. The exhibition features iconic works by Geraldo de Barros, such as a formica set, which are part of the series Jogos de dados, exhibited for the first time in the 1986 Venice Biennale, and belonging to Unicamp’s Museu de Artes Visuais in Campinas. Preparatory drawings related to the works produced in the 1980s, which are a part of the Inhotim collection, are also displayed. Aside from being reserved to one of the exhibitive spaces at the gallery, the reconstitution of a room whose furniture is authored by the artist, rebuilds his years of experience across the Unilabor (1954 -1967) and HObJEto (1964 – 1989) companies.

In the gallery’s attachment, ten unprecedented serigraphs are exhibited (72 x 72 cm), edited post-mortem especially for the exhibition. The serigraphs summarize Geraldo de Barros’ thoughts during the development of the series Jogos de dados.

It was by bringing art to the quotidian, be it through furniture or be it through the use of a typically industrial means of production in the making of the formicas or even in his photos, that Geraldo fulfils the modern intention of art socialization. Beyond allowing for a walk through his trajectory, the exhibition Geraldo Industrial allows the public to get in touch with this very intention, through the selection of bold works.

http://www.lucianabritogaleria.com.br/

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