The exhibition follows two parallel paths. One is thematic and chronological: on the first floor, the iconographic materials concerning the expedition to Amazonia and Mato Grosso (where the images of the Bororo people drawn by Florence are placed in comparison with the photos shot by the anthropologist Claude Lévi-Strauss in the 1930s, a century later) are on display, while on the second floor we may examine all of Florence’s inventions, like the “hydrostatic noria” (a pump for perpetual movement), the “papier inimitable” (a special kind of paper that was supposed to be used for the watermark for a new, unique Brazilian banknote), the “polygraph” (a sort of proto-photocopier).
You are preparing your solo exhibition at PIVÔ in São Paulo, and for the past two months you have been working in the galleries on new sculptures, paintings, and a video. One of the new works is Portal, a large metal sheet fixed to the wall on massive hinges.
A roundtable discussion hosted by Chris Wiley, with Lucas Blalock, Sara Cwynar, and Erin Shirreff.
“Reading is fundamental to my process,” Justin Matherly told Artforum in 2011. From a 2006 rendering, upside-down and in particle board, of the desk described by Kafka in his satire Amerika, to an interpretation of the Belvedere Torso prompted by the writings of Johann Winckelmann, Matherly’s sculptures and prints are often physical workings-through of ideas encountered in his readings.
Anselm Franke has become known for developing curatorial projects of great scope and influence, which are characterized by solid and extensive long-term research processes. In their practice, theoretical and discursive aspects play a fundamental role, and a dialogue between research and art practices has a critical impact on contemporary world essential issues.