The 1990s are marked, in Brazilian art, by an operation of deconstruction and reconstruction of the notions of concrete and constructivism, notably through the “pop-folk” works – to use the expression of a critic of the period – by names like Marepe, Alexandre da Cunha and Emmanuel Nassar. About him, it has been stated that he “literally makes a ‘gambiarra’ from concrete to popular or vice versa”. From this same deconcretist and deconstructivist matrix, the more minimalist poetics of Marcius Galan, Renata Lucas and Fernanda Gomes were also born in that decade and in the 2000s.
The 1990s are also a time of reconciliation with the beautiful, with color being rehabilitated by artists who do not identify with the 1980s generation, but who practice a kind of conceptual painting, such as Caetano de Almeida, Monica Nador and Marina Saleme. About Saleme, it has been written: “The figurative allusion is firmly anchored...by the title; it is a landscape, and yet it is already a post-concept painting, painting of painting, a figure that examines the viability of painting now ”. Finally, another hallmark of this historical period in art is the emergence of conflicting subjectivity in more existential works, such as those by Leonilson, Dora Longo Bahia, Edgard de Souza, and Cabelo.
The present exhibition brings together works by these and other artists to tell the story of Luisa Strina Gallery from the 1990s to the mid-2000s. The names listed above were all represented by the gallery, they were artists that Luisa bet on when they were beginning their careers, and therefore, she was also responsible for “launching” their professional path, which would be consolidated in the years 2000 and 2010. Today, Marepe, Alexandre da Cunha, Marcius Galan, Fernanda Gomes, Caetano de Almeida, Renata Lucas and Marina Saleme remain in the gallery group, setting up lasting partnerships of 20 or 30 years of joint work and complicity.
I-D deals with the consolidation of the gallery’s identity, also including works by foreign artists that Luisa presented and / or began to represent in the period covered by the exhibition, and that continue to integrate the core of artists that define this identity: Muntadas, Jorge Macchi, Carlos Garaicoa and Alfredo Jaar. The other international names, especially Latin Americans, which today are a fundamental part of the gallery program, as well as the young Brazilian artists who started to be represented in 2010, will be the object of the third exhibition of this 45th anniversary commemorative cycle, to be inaugurated in March 2020.
In addition to the 1990s generation, I-D features works by artists who continued to actively participate in the gallery’s life in the period, such as Cildo Meireles, Antonio Dias and Artur Barrio. And it brings a small selection of works by the great names of the international contemporary art history that showed works here in the decades contemplated by the curatorial election: Peter Halley, Jenny Holzer and Wim Delvoye. The history of all these exhibitions will also be told in two panels with documentation (invitations, clippings, photographs), as happened in Chalk Floor.
Entrada actualizada el el 10 dic de 2019
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