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In Uber: Let the right one, the first exhibition of Frieda Toranzo Jaeger with Travesía Cuatro, the artist explores the vampiric quality of capitalism that materializes in the idea of today’s Uber. For this show, she delivers this material-historical critique in lavish form, here is everything anyone could ever want from a painting: a sweeping Gothic narrative, melodramatic posing, sexual tension, glittery blood, evil alien ships, even cherubs. The series is inspired by Paolo Veronese, recognized for being one of the Three Venetian Colorists alongside Titian and Tintoretto. When painting his massive, slightly-heretic compositions, Veronese would frequently use this trick of not stopping at the frame, a cherub would peek from a window, only a third of their chubby body visible; or they would stand at Saint Helena’s feet in a corner, struggling off the frame with a cross. This had the point of making the plane appear larger, not merely reduced to what was in it, and through our mental completion, we could read it as much more expansive.

[Fragments from the text by Gaby Cepeda]

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Frieda Toranzo Jaeger, Uber: Déjame entrar, 2023. Exhibition view. Courtesy of Galerie Barbara Weiss and Travesía Cuatro. Photo credit: Ramiro Chaves.

Travesía Cuatro presents Casi Concreto [Nearly Concrete], the second chapter around the work of Eleonore Koch and curated by Cristiano Raimondi, which initiated last year with an exhibition at Fundación Fernando de Castro in Madrid organized by Travesía Cuatro. This exhibition brings together drawings, paintings and preparatory studies by the Brazilian artist, and proposes a contemporary approach to her work and her figure, currently being redefined as one of the most relevant Brazilian artists of the second half of the 20th century.

Eleonore Koch was born in 1926 in Berlin. Ten years later, she moved to Brazil settling home in São Paulo accompanied by her mother, the psychoanalyst Adelheid Koch, her father, the lawyer Ernest Koch, and Esther, her sister.
Lore Koch’s canvases are a rigorous result of a long and meditative process of work that she pursued through the use of different exercises. The charcoal drawings of interior spaces and still lifes test the perspective, in which frontal, diagonal, and vertical planes coexist. They are preparatory studies for the paintings, which already show the isolation of objects and the vast empty spaces. In the canvases, Koch adds a coloring that renders interior spaces with a melancholic and psychological atmosphere that makes it dense and somewhat austere, but not confessional nor sentimentalist. Besides the investment in an expressive approach to color, the artist explored the material density of the pigment achieved through the tempera technique. During the 1960s, although she continued to paint still lifes and interior spaces, she opened up to the landscapes, where the first isolated architectural elements, such as arches, columns and statues began to appear.

The landscapes, sometimes scenographic and theatrical, show a summarized observation of the external world that purifies its elements through a rational method. However, it is not a rationalist pictorial space, for Koch attributes a psychological atmosphere that emanates from the meticulous coloring. Throughout her travels, Koch continued to produce paintings of interior spaces, still lifes, and landscapes that show the continuous deepening of her artistic research. The selected works that are presented in this exhibition are broad and cover the various phases of Eleonore Koch’s artistic career, from the 1960s to the mid-1990s.

[Fragments from the curatorial text by Cristiano Raimondi]
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The exhibition is on view until March 23, 2024 at Travesía Cuatro CDMX, Valladolid 35, Roma Norte,

Eleonore Koch, Casi concreto. Exhibition view. courtesy of Almeida & Dale y Travesía Cuatro. Photo credit: Ramiro Chaves.


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