Editorial
Highlights
Galleries discover artists at SP–Foto
Viewing Room
Felipe Molitor
27 Nov 2020, 6:15 am
The virtual format for art fairs has its advantages. Dynamic and more democratic, the SP-Foto Viewing Room brings together different generations of artists and galleries, allows unlikely contacts that break geographical barriers, as well as enables new forms of exchange and research for agents working in the art market.
Starting from a more collaborative premise, we invited some of the gallerists engaged in this edition to talk about the artists they discover through our platform, and comment on what most caught their attention.
Above: Davi de Jesus do Nascimento “Braços de romaria fluvial” (2017)
Ian Duarte Lucas e Allann Seabra
Verve Galeria
“We chose to mix some choices from both of us: Tulani Rachia (01.01 Art Platform) is a master at capturing atmospheres and transporting us immediately to other places and narratives. We also chose Pamina Sebastião for its powerful images that question the aesthetic idealizations of photography. In a year as troubled as this one, there is a great desire to transcend to places other than here and now, and Majo Guerrero (Ginsberg) transports us beautifully to this other place.
Eustáquio Neves also draws our attention, due to the beautiful selections seen on the Projeto Vênus in which they highlight the pioneering spirit of this great artist, who transcends the language of photography to that of the art object. Brasília is a subject that never exhausts itself in photography. It was a happy surprise to meet Luis Humberto (Galeria Index) who has been photographing the capital for so long with such a unique view. Finally, we indicate Juh Almeida (Piscina): the images and the poetry that accompany them are absolutely stunning.”
Thulani Rachia “Mohammed” (2011) from the series “Eu sonho com esse lugar que eles construíram para nós...”
Pamina Sebastião “Me falaram, uma crítica ao que foi inscrito no meu corpo - tríptico” (2019) from the series “Só belo mesmo”
Majo Guerrero “Eventos não ordenados a tempo” (2019)
Eustáquio Neves Sem título, from the series “Boa Aparência” (1999/2000), and Luis Humberto “Congresso nacional” (1975)
Juh Almeida “Náufraga” (2019)
Fernanda Resstom
Central Galeria
“A wonderful discovery was Galeria Index, recently opened in Brasilia, whose research is focused on artistic production in the center-west region of the country. I didn’t know Luís Humberto’s work and I was impressed with the records made during the 70s and the military dictatorship subtly revealing the architecture of Oscar Niemeyer and the urban project of Lucio Costa as a backdrop.
In addition to Luís Humberto, I would also highlight Davi do Nascimento, who is in SP–Foto Viewing Room at Galeria Hoa. A young black artist from Pirapora (MG), has a very poetic and relevant production. He grew up on the banks of the São Francisco River and uses elements of his daily life in his works. Davi’s family is made up of carranqueiros and his father, in addition to being a fisherman, builds canoes. For me, this is our Brazil, and Davi’s gaze proudly reveals his roots, and this is of great value. Both artists rescue our culture, our history and our Brazil. I believe that the decolonization of the gaze is extremely important, in the arts and in the world; and the existence of viewing rooms facilitates this step.”
Luis Humberto “Fernanda, Clara, Rodrigo e Pedro -STF, Brasília” (1995)
Davi de Jesus do Nascimento “Braços de romaria fluvial” (2017)
Pablo Di Giulio
Utópica
“I would highlight Projeto Vênus, with the solo by Eustáquio Neves. His work is already well recognized, he is an artist who has a very important trajectory. He moves between photography and contemporary art because he transcends photography with the treatments and resources he uses. His projects and works are the result of these crossings, and this is already very important. The good thing about the presentation by Projeto Vênus is that it is very broad, encompassing several years and several phases. Viewing Neves’ entire trajectory in the same presentation was something that I found very interesting and caught my attention at this Fair.”
Eustáquio Neves "No Title" (1999) from the series “Objetilização do Corpo”
Eustáquio Neves "No Title" (2004) from the series “Máscara de Punição”
Bianca Boeckel
Bianca Boeckel Galeria
“A project that involves thirteen female artists, like the one at Piscina, in itself arouses my interest. The strength of work ’15: 01: 37 ‘, by Alice Yura, caught my attention for referencing European Romanticism and, at the same time, bringing contemporary discussions about the body and self-image, in addition to rescuing typical Brazilian regional elements such as the towel crochet. The digital card, neatly inserted in a jewelry box, contains a record of the performance essay ‘Remains of Carnival’, and the titles of the photos come from the time stamps of the archive. In the artist’s words: ‘I’m talking about time, about my time and it’s in time that I relate to things.’”
Alice Yura “15:01:37” (2020)
Alice Yura “15:01:37” (2020)
Alice Yura “15:01:37” (2020)
Felipe Molitor is a journalist and art critic, part of the editorial team at SP–Arte.
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