Portas Vilaseca Galería, Rio de Janeiro
May 30, 2019 – July 10, 2019
Forjada e Outras Formas
Pedro Victor Brandão
May 30 – July 6, 2019
020, Rua Dona Mariana, 137–casa 2
Botafogo, Rio de Janeiro
RJ, 22280-020, Brazil
Portas Vilaseca Galeria presents Forjada e Outras Formas [Forged and Other Forms], by Pedro Victor Brandão, gathering mostly new works in various media. Central to them is the relation between abstraction and value construction from researches on current political and economic landscapes.
In the ground floor the artist shows Forjada [Forged] (2019), a photo-composition made of documented archives of silverware from auctions during the 70’s. The set of assemblages with cardboard and broken cell phone screens Sem Conserto [No Repair] (2018), from Tela Preparada [Prepared Screen] series is seen in a large area of the same floor. Also in this first room is the series Pequenas Partes [Small Parts] (2019), that depicts macro-shots of common electronic components, but very little seen. Retornável [Returnable] (2019) presents three collages in notice boards—within each of them there is a unique cryptographic token issued by the artist that deploy a capitalization process. The painting Sem Título [Untitled] (2019) from the series Totalidades [Totalities] relates color fields to global monetary flows. The video Falso Profundo para Política Rasa [Deep Fake for Shallow Politics] (2019), from the series Detremura uses the infamous deepfake technique, by which the faces of authoritarian politicians are blended onto the face of the artist through AI iterations. The audio track Notificações [Notifications] (2019), from this same series, can be heard in the whole space.
The second floor shows WYBINWYS (What you buy is not what you see) (2012/2019), where the visitor has its attention tested to small gelatin silver prints related to gravity. The photo Untitled #3 (2011) from the series Vista para o Nada [View from Nothing] was assembled in the third floor, next to an edition of the series Pintura Antifurto [Anti-theft Painting] (2011) that is available for free distribution among visitors.
The critical essay by curator and publisher Leonardo Araujo Beserra addresses the exhibition as a proper way of learning about the financialization of life. Before the popularization of non-state economic practices by cryptographic routes, life was managed by stock exchanges, banks, insurers, and governments, now it can also be abstracted by hackers, artists, and pirate speculators from a decentralized underworld. In order to understand how such devices work, the text tries to think a pedagogy for financial autonomy through a metalinguistic narrative practice.