Luciana Brito Galeria presents performances by Héctor Zamora enacted for the first time in Brazil
Luciana Brito Galeria is presenting performances by Héctor Zamora, enacted for the first time in Brazil: Movimentos Emissores da Existência [Existence-emitting Movements] and Platônicos [Platonic]. They are both part of the exhibition As Circunstâncias [The Circumstances], the fourth by the Mexican artist at the gallery, which is being held on the occasion of the 35th Bienal de São Paulo. The show will occupy the entire space of the gallery. The critical text is by Helena Cavalheiro.
The performance Movimentos Emissores da Existência brings together women volunteers in gallery’s attached pavilion for an action lasting several minutes, the remnants of which will form a large sculptural installation of earthenware vessels, traditionally made by male potters. The action evokes the universal image of the woman who carries a pot on her head, alluding to various aspects ranging from her power in the struggle for survival to the subtlety of her movements. The action carried out by the women perturbs the order of things and, coupled with the monochrome setting and dramatic lighting, approaches questions related to the standards and rules that society has imposed on women throughout history. Like the title of the exhibition As Circunstâncias, the action Movimentos Emissores da Existência stems from a concept established by Luandan author Gonçalo M. Tavares, where he says that “there are two different sorts of movements: those that receive the happenings and seek to adapt to them as best as possible: receptor movements of existence, in opposition to the movements that deliberately create concrete situations, which alter the momentary conditions of existence: emitter movements of existence.”1
Soon afterward, in the gallery’s modernist room, the long-duration performance Platônicos will take place, in which an invited artist deconstructs the canons of Western art history, here represented by the sculpture of a male figure, subverting the idea of a civilizing project based on androcentric rationalism. The action consists of using typical sculpting tools to deconstruct the stone sculpture into parts in the form of “Platonic solids,” in a process that mirrors the artist’s production, but in reverse. In this action, unlike Movimentos Emissores da Existência, Héctor Zamora works on another temporality, as he deconstructs a classic symbol of art and of the iconographic representation of man. The historical narrative of Western art dictated by men is questioned through the gradual toil of one male body on another, with the aim of creating Platonic solids, which were once associated by Plato to the classical elements of earth, air, fire and water.
After the end of the performances, the remnants will be accompanied by video documentaries that capture the original lighting and soundscapes.
1 M. Tavares, Gonçalo, Atlas do corpo e da imaginação: teoria, fragmentos e imagem, Ed. Dublinense, 1a edição. Porto Alegre – São Paulo, pp. 123, 2021.