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EXHIBITIONS

Lucas Arruda, Adriano Costa and Paloma Bosquê at Mendes Wood DM, São Paulo

Adriano Costa “S Título C Amor From Me To U”

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Adriano Costa is multiple. There are many Adrianos Costas inside Adriano Costa. I mean how the work of Adriano appears in the world. I feel like saying it is anarchic, but that would be imprecise. The anarchy lies on appearance. This is the wrong impression I get from Adriano’s work. The piece is framed by architecture. There is a clear and pragmatic limit. Adriano is external to it. This is the constructivist Adriano. Oh! Sweet constructivists, we love you. Fingers up!

Adriano is external to himself, since the form of the flannel suggests the place where it(he) is: architecture, the gallery, the expert and curious visitors, and, of course, being there only as the draft of a branch on the wall. The form of the flannel itself suggests the color. It is orange! The internal Adriano, in this intimate conversation with his objects, like a relationship discussion, forms the plastic and the humor. Like a punk band that rebels against everything but is actually only having fun, the pieces of Adrianos Costas are filled with irony and pleasure. The platonic and the physical love are exposed in the title of the exhibition: s título c amor from me to u.

Contrary to specific media, the pieces of Adriano can appear in several forms and configurations, and they can specially be materialized from anything that exists. Adriano’s apparently anarchic freedom sucks the objects and the aesthetic footprints that Adrianos find out there. Instead of being pre-conceived, the work is defined in the present. It is the catch of the happy game with the facts that are presented. As if Adriano asked, OK, I can do it, but what are the limitations? As the movie maker Claudio Assis would say – take it and receive it. The erotic of Adriano’s work is in this friendly exchange.

That is the reason for the lines on the wall. They are fingers drawing small children’s paintings of love. With heart, temple, floors and many fingers on the wall. No more comments.

Ricardo Sardenberg

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at Mendes Wood DM, São Paulo

until 24 May 2014

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Above – Japan garden pagoda, 2014

Norwegian Cheese/São Paulo, 2014

Fermentation, 2014

The duck hunt is a very appreciated sport in Europe, 2014

Adriano Costa “S Título C Amor From Me To U” installation views at Mendes Wood DM, São Paulo, 2014

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Courtesy: Mendes Wood DM, São Paulo.

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Lucas Arruda “Deserto-Modelo”

Two days alike, and different
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I have little affection for nature, which for me reduces itself almost to a moral, intimate landscape in two or three tones, only pulsing in all of its particles
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Carlos Drummond de Andrade in Divagação sobre as Ilhas
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The pieces by Lucas Arruda are about memory in the first place, before being landscape painting. They are memories built inside the atelier, not outdoors. They are more characterized as moments of the artist instead of nature: a second content deriving from the first one. There is the will to affirm himself as a man, as a subject. Yes, I have been there, I remember what I felt. He does that by recreating the light and the colors that triggered happiness, melancholy, sadness, and the plenitude of having been there at that time.Apparently, he finds or tries to find order in the world inside the atelier. He recreates all of those sensations by exercising what he likes most, painting. And for that it is normal that sometimes his starting point would be the painting of other artists. A tree by Corot, the sea of Turner, or a beach by Reverón. We also look at the world through the eyes of artists we appreciate.I believe he might find transcendence through repetition. From one painting to the other. The previous painting reverberates, echoes, and shows the route to the next one. The color, the tones that were in that piece 4 months ago reappear in the one concluded yesterday.
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An autumn afternoon”. I keep wondering that maybe the title of the last movie by Yasujiro Ozu, from 1962, would be perfect to describe Lucas’ work (because, in Portuguese, the literal translation of the title would be ‘Routine has its charms’). But most of his paintings have no title. Titles that serve the purpose of distinguishing or describing a piece would not make sense here. Or could you imagine that one of these paintings might be called “Afternoon in Barra do Una”? If it were so, all of the ambiguity would disappear, as well as the whole attempt of reconstruction through memory.The lack of titles in these pieces also leads us to think we have seen those paintings before. However, if we look at them long enough, they reveal themselves as being different. I do not recall most of my days with accuracy. But that can be justified, since my memory is not one of my best features. And days are not the same, they are different, unique. And so are Lucas’ paintings.
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Rodrigo Bivar

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at Mendes Wood DM, São Paulo

until 24 May 2014

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Above – Untitled, 2014 and Untitled, 2013

Lucas Arruda “Deserto-Modelo” installation views at Mendes Wood DM, São Paulo, 2014

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Courtesy: Mendes Wood DM, São Paulo.

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Paloma Bosquê “A Step Under”

By taking back the urban hermits, Paloma Bosquê presents, in her first solo exhibition – A Step Under –, pieces she has been developing in the basement of her building throughout the years. Not so restrained in her iconography, like Lucas Arruda, she also seems to establish a dialogue with her own work, as if it, as well as the artist, were sufficient in themselves. Two loners in search for expression. It is during the act of work, for instance, while rolling a wire around a piece of wood, that questions such as gravity, scale, color etc. arouse. Paying attention to the relationship between her body and the sculpture she looks for in the found objects, she tries to plastically re-signify it by putting pieces that were loose in the world, ready for a possible discard, together. In this process, imagination tries to misrepresent values, shuffling what seems rare with what is excessive, as is the case of “copper” ribbons, which are only made of lurex, that can be found in popular stores. It is also possible to use rosin, which is a disposable resin, and suddenly it reappears in the sculptures as something overrated.

The tension of the wires and between what is visible and invisible, depending on the point of view of the spectator, also suggests the latency of pieces. Therefore, time is inbuilt in the piece, since the sculpture itself carries the small interval between the stimulus of a pulse and its consequence in time and space. It is a paradox, in a way, since these are kinetic but inert pieces, at the same time. The work by Paloma Bosquê expresses a magical phantasy, the alchemy of the fusion of objects that are found in the artist’s basement-atelier-laboratory.

Considering the unexpected encounter of these three artists of the same generation, but who are deep down absolutely independent in their creative and productive styles, we can see how the mediation of a gallery that proposes to articulate a program is all about. In this place, it is possible to measure the success of one of the most difficult journeys. Three artists and three vocabularies that are completely different, but somehow complementary, prove the diversity of aesthetic experiences in the generation that developed its aesthetic vocabulary throughout the 1990s and the 2000s. It does not take much to see the beauty in the appearance of a new generation. And for that, it all seems like celebration to me.

Zeitgeist. This is what gives me pleasure.

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at Mendes Wood DM, São Paulo

until 24 May 2014

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Above – Rhythm for 2, 2014

Dream, 2014

Paloma Bosquê “A Step Under” installation views at Mendes Wood DM, São Paulo, 2014

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Courtesy: Mendes Wood DM, São Paulo.

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