Contemporary Art in the Americas Arte Contemporáneo en las Américas

RE : pùblica

Curated by Estelle Nabeyrat

Museu da Repùblica Rio de Janeiro, Brazil 07/13/2014 – 09/14/2014

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R.Grisey_17

Y.Mettler_5

If at times gazing out of the window invokes vertigo – just like the predecessors who lived in this place – to feel the void above the street might remind us of other use values.
Antonio Clemente Pinto left Portugal for Rio de Janeiro hoping for a better futur. At the age of 25, he started a business in the coffee and slave trade that did so well that he made a fortune and ordered the construction of his private residency that would reflects his success and ambitions.
Best labourers and craftsmen from Brazil, Germany, France and Portugal worked in his garden and builded a whole Palacio from their hands.
Baronne and wife Laura Clementina da Silva could not stand the idea of « being hiden in a bush », in the middle of a landed property. And a window on the street was her wish. Wisdom of the heart or the caprice bourgeois, from this penchant would be hanged a certain History of the Republic. Between see and be seen, many stakes and destinies which would have untied the Capital of Brazil of any coming empathic relation.
Escaping from the thickness of it’s wall and from the splendor of it’s ornaments – in this that Palacio turned into a museum – an absent-minded eye would go to the window which, by a sudden contrast Inside/outside, would bring to an experience what the past-present teaches us from semantic of times.
If in the answers formulated by the history, some more questions; it is then necessary to build an extending ladder of allocation.
It is an antique stance; in the bare truths some aesthetic postures. Because what happened in the past can be considered as a possible formula, a speculative bet.
Aside from the “necessary rational truths” 1), it is here essential to consider the potential of a reverse side of an institutional apparatus. Even if our tools are poetic and romanticized, they nevertheless contribute just as much to the officials narratives that construct our world.
At the museum, we are sometimes being inspired by solitary destinies of major figures in former days.and we wanted here to wonder “what could take place”
Like generations of residents and presidency, looking at the window was imposed to us by our Time and from everywhere where we come. RE:publica, to repeat the question.

1) Gotthold Ephraim Lessing, Über des Beweis des Geistes und der Kraft, in Sämtliche Schriften, by K.Lachmann,
Stuttgart-Leipzig-Berlin, 1897, vol 13, P 5

With the support of : Alliance française, Rio de Janeiro, Consulat de France à Rio de Janeiro, Institut français, Pro Helvetia, Fundaçao Suiça para a cultura

Links : http://republica2014.tumblr.com/
http://museudarepublica.museus.gov.br/

Artists : Mathieu Kleyebe Abonnenc, Faycal Baghriche, Antonio Contador, Arnaud Elfort, Elise Florenty & Marcel Turkowsky, Raphaël Grisey, Kapwani Kiwanga, Cinthia Marcelle, Leandro Nerefuh, Yves Mettler, Camila Oliveira Fairclough, Rafael RG, Julien Tiberi

vueext_1_14

R.Grisey_17

Y.Mettler_5

If at times gazing out of the window invokes vertigo – just like the predecessors who lived in this place – to feel the void above the street might remind us of other use values.
Antonio Clemente Pinto left Portugal for Rio de Janeiro hoping for a better futur. At the age of 25, he started a business in the coffee and slave trade that did so well that he made a fortune and ordered the construction of his private residency that would reflects his success and ambitions.
Best labourers and craftsmen from Brazil, Germany, France and Portugal worked in his garden and builded a whole Palacio from their hands.
Baronne and wife Laura Clementina da Silva could not stand the idea of « being hiden in a bush », in the middle of a landed property. And a window on the street was her wish. Wisdom of the heart or the caprice bourgeois, from this penchant would be hanged a certain History of the Republic. Between see and be seen, many stakes and destinies which would have untied the Capital of Brazil of any coming empathic relation.
Escaping from the thickness of it’s wall and from the splendor of it’s ornaments – in this that Palacio turned into a museum – an absent-minded eye would go to the window which, by a sudden contrast Inside/outside, would bring to an experience what the past-present teaches us from semantic of times.
If in the answers formulated by the history, some more questions; it is then necessary to build an extending ladder of allocation.
It is an antique stance; in the bare truths some aesthetic postures. Because what happened in the past can be considered as a possible formula, a speculative bet.
Aside from the “necessary rational truths” 1), it is here essential to consider the potential of a reverse side of an institutional apparatus. Even if our tools are poetic and romanticized, they nevertheless contribute just as much to the officials narratives that construct our world.
At the museum, we are sometimes being inspired by solitary destinies of major figures in former days.and we wanted here to wonder “what could take place”
Like generations of residents and presidency, looking at the window was imposed to us by our Time and from everywhere where we come. RE:publica, to repeat the question.

1) Gotthold Ephraim Lessing, Über des Beweis des Geistes und der Kraft, in Sämtliche Schriften, by K.Lachmann,
Stuttgart-Leipzig-Berlin, 1897, vol 13, P 5

With the support of : Alliance française, Rio de Janeiro, Consulat de France à Rio de Janeiro, Institut français, Pro Helvetia, Fundaçao Suiça para a cultura

Links : http://republica2014.tumblr.com/
http://museudarepublica.museus.gov.br/

Artists : Mathieu Kleyebe Abonnenc, Faycal Baghriche, Antonio Contador, Arnaud Elfort, Elise Florenty & Marcel Turkowsky, Raphaël Grisey, Kapwani Kiwanga, Cinthia Marcelle, Leandro Nerefuh, Yves Mettler, Camila Oliveira Fairclough, Rafael RG, Julien Tiberi

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