Galeria Lume: Videos

Sempre Tem Alguém em Casa , 2022
Nazareno,

Sorry, this entry is only available in Brazilian Portuguese.

Nazareno: Sempre tem alguém em casa

“Ele abriu os olhos,
que tinham se mantido abertos
o tempo todo,
mas só haviam visto pensamentos,
e avistou sua casa,
aninhada lá embaixo no vale”

Orlando: a biografia, Virginia Woolf

A casa da gente. Refúgio, esconderijo, reduto, ninho. Espaço que guarda memórias e devaneios, no qual habitam para sempre aqueles que por ali passaram. Espaço que sabe as verdades que carregamos, espelho do que de fato somos. É verdade, como diz Nazareno, que “sempre há alguém em casa”, seja este alguém presença ou ausência. A frase dá nome à exposição do artista, em cartaz na galeria Lume, casa das obras de Nazareno nesta temporada e reflexo de suas descobertas enquanto habitou a sua própria nos últimos anos.

Nazareno interessa-se pelas relações que conformam este espaço doméstico de intimidade. Por lá, encontra as histórias que relata em suas obras, recria situações, diálogos e também gestos, desenhados e gravados em louças, taças, rodapés e espelhos. Gosta do jogo subversivo que ocorre nos lares mundo afora, que são a melhor imagem da diversidade cultural, ideológica e geográfica do ser humano. Gosta do humano. Interessa-se genuinamente pelos pensamentos e reflexões que nos fazem vivos.

Se qualquer espaço de uma casa, por mais inusitado que seja, pode ser utilizado pelos seus moradores, Nazareno reflete tal pensamento dentro da galeria paulistana, induzindo o expectador a observar cada canto do local, em buscas de pistas deixadas pelo artista. Pratos com digitais de amantes, azulejos gravados com palavras a serem reunidas em histórias ou até uma diminuta casa aninhada em um espaço inesperado, que nos remete a um cofre repleto de confissões.

O universo criativo do artista nos leva também a caminhar entre os devaneios elaborados ao redor desse elemento tão presente desde os contos de fadas à literatura adulta, por onde passam importantes descrições feitas por seus autores como forma de nos aproximar e nos conectar com os mais distintos personagens. De João e Maria a Orlando, passando por Barba Azul, a casa é cerne daquilo que somos e vivemos. Bem-vindos à atual casa de Nazareno.

Ana Carolina Ralston
curadora

mais valor que valia , 2022
Maré de Matos,

Sorry, this entry is only available in Brazilian Portuguese.

Antes de conhecer a Maré de Matos das instigantes coisas-artes que se situam, ou melhor, se deslocam em meio a espaços intersígnicos que a artista continuamente aproxima e tensiona, eu conheci a Mariana de Matos da fala- pensamento trovejante e desbordante, sem meias palavras nem “meias imagens”.

Já faz uns 5 anos que isso aconteceu, isso de vê-la/ouvi-la em um vídeo no qual sua fala-pensamento é acompanhada por um olhar-interrogação tão intenso e firme que de pronto tive a certeza de que aquela pessoa artista era alguém, no mínimo, muito interessante.

E era mesmo. É. Maré se distingue da maioria das pessoas artistas que surgiram no Brasil da década passada por lidar de modo bastante peculiar com a difícil questão das conexões possíveis entre poesia & arte & entre estas & as inúmeras camadas do real imediato.

Com sua fina inteligência sensível, fluida e serpenteante como o Rio Doce do seu tempo de criança e de até poucos anos atrás, a artista nos oferta um conjunto de objetos-conceitos que, ao tornar tangíveis questões cruciais desta época que pode ser a derradeira para a única espécie que nomeia a si mesma e a todas as demais formas de vida (e de morte), reafirmam a dimensão ética da obra de arte, porquanto vão além da mera fisionomia “bonita” e previsível de grande parte daquelas “peças” desprovidas de força anímica (e de imaginação) que inundam o ambiente artístico, hoje, e não só no Brasil.

Mais que apenas denunciar o que há de podrido e irrecuperável no aqui e agora do mundo, alguém, parece, deseja puxar conversa sobre outras hipóteses de mundo. Os antigos davam a tal gesto o nome de poesia.

Ricardo Aleixo
Poeta, artista e pesquisador de literatura, outras artes e mídias.
Doutor em Letras pela UFMG, por Notório Saber.

Fio: Gaveta de si, ofício de ser , 2021
Francisco Nuk,

The house was sold with all the souvenirs
all furniture all nightmares
all the sins committed or about to commit the house was sold with its slamming doors
with its channeled wind its view of the world
its imponderables
For twenty, twenty bucks.

Carlos Drummond de Andrade

Without the intermediation of furniture and utensils, a house appears as an empty museum, without recollections, memories, or guilt. Waiting for the furniture, each with its pre-defined corner and function, the domestic space recalls an exhibition scene where every inserted object hides a story. In drawers, portraits, passport, letters, and nostalgia. On the shelf are the marks of the altar, the candles, the stain of the glass on thirsty nights. On the doorstep, the size of the children, the passing of years. In its new forms, the furniture molds itself to the life that inhabits its surroundings. In Lisbon, I once heard the story of a Portuguese lady who guarded the desk of her late husband, a poet. On the top of the furniture, between the grains of wood, overlapping words were engraved, a writing trace during poetry dawns.

Perhaps, the accommodation of things, the mere utility, is the smallest function of furniture. Transformed by time into memory, a mirror of our gestures, objects are marked. They fray, splinter, bend, and come to life. They act serenely as observers of our most intimate events.

In “Wire: Drawer of Oneself, Craft of Being”, by Francisco Nuk, the convenience and usefulness of the furniture are dismantled when the artist breaks its rigidity, turning the absurd into a persecuted concept. Everything in his work opens up to distorted clues. Distorted cabinets no longer balance the crystals, the drawers float lightly without the weight of archived secrets, the carefully carved circular dresser confuses those in storage.

In repetition, in the game of imagination, and in the constancy of his craft, Francisco elaborates his sculptures with the intimacy of a poet. The woods, in love, surrender, dance, and free themselves from the burden of serving. Now they are art. Nothing else.

Paulo Kassab Jr.

Macrocosmos, microcosmos, ou a cosmogonia dos incêndios | CCBBSP , 2021
Kilian Glasner,

Two thousand and twenty one — when entering the exhibition at the CCBB, we come across a video in which the artist walks over the rubble of what was left of his studio in Itamaracá – PE, victim of a fire that not only consumed his house, but also every work that would be part of this show. In a silent atmosphere, reminiscent of Tarkovsky’s films, Kilian leans on premeditated ruin in old works. Shards, objects displaced from their time and fragments of memory point to what was not, but could have been. Everything is a trace and everything is little “not much: this absurd drop drips from a tap, half salt and half alcohol, this frog leg jumps, this clock glass broken into a thousand hopes, this swan’s neck, this children’s secret… ”1 There remains his mother’s face in bronze, a toy soldier made of lead from his childhood, stones and coal which, if he used to be an instrument to invent and imagine fire, is now left over. The film goes on and the artist indicates the argument that will guide us through the entire exhibition. Hammer blows destroy what were once beams and coal explodes on paper, drawing the cosmos. The universe is leftover, explosion, big bang. The ambiguity of fires rests here, although devastating, it reveals the strength of generating another future, from cells to space. This cycle originated each of the works in this exhibition. With an imagery often built on photographs, the artist covers the paper with powder, pastel, charcoal, glue and other materials that generate a “background” that literally alludes to the macrocosm, conceived in micro particles and cells. Within these surfaces, Kilian incorporates symbolic references to objects, figures or places and, through them, encodes his own history.

Macrocosms, microcosms or the cosmogony of Fires, marks the return of Kilian Glasner to the previous series in a final act that inverts the meaning of the previous creations. Now, ruin is no longer representation, it jumps from role to presence, witnesses to what has been consumed and, at the same time, points to what can emerge, the dream.

Excerpt from the curatorial text “Incendios” by Paulo Kassab Jr.
Video by Ashlley Melo

Macrocosmos microcosmos, ou a cosmogonia dos incêndios l CCBBSP , 2021
Kilian Glasner,

Fires

Countless myths about the origin of fire -from Brazilian indigenous peoples to the Greeksmake allusion to its transforming power and latent threat. While in Greece it is Prometheus who steals fire from the Olympus and offers it to men, in the mythology of the Suruí Paiterei, it is the black bird, Orobab, which deceives the Mekô jaguar, owner of fire, and takes its flames to the humanity—in both cases bringing wisdom, but also misfortune. Even if it is essential to understand such allegories from the perspective of the values of the society in which they arise, through the similarity between them, we can follow traces that lead us to understand the ember as a landmark, symbol of the distinction between nature and culture.

If there is a notion of sociocultural revolution based on the domain of fire, it is also from this that the first drawings appear, the embryo of our inventive capacity to think about external nature, imagine it and represent it with sticks of burnt wood, charcoal, on the walls of caves.

Contemplating Kilian Glasner’s work as a whole is to peek at the history of drawing and understand its close connection with fire in its subversive but also creative power. This relationship appears in his work for the first time in 2010, in “The brilliant future of sugarcane”, at the Calouste Gulbenkian Foundation (Lisbon). In the installation, the artist fills the walls of the institution’s parking lot with drawings of a huge sugarcane plantation. Upon learning that Calouste Gulbenkian was also known as the “Lord of Oil” and convinced of the advantages of using renewable energy, Glasner makes visitors witness the headlights of their cars, reflected in the design, setting fire to the sugarcane fields. Four years later, the research intensifies when Kilian, instigated by the different forms of the flame, develops the series “Anatomy of Fire.” He appropriates this gaseous entity emitter of radiation and, with an impeccable execution in charcoal on paper, he exalts the fire in the fatality. An oil tanker on the high seas, the windows of a house, a flag and a hotel, of which ironically only the letters “HOT” of a sign remain, they blaze, and the sublime charm of fire takes over the scene. Those who only see the drama here are mistaken; the work insinuates a kind of remission of the material: the charcoal that emerges from the burning recreates on paper what was lost in the fire.

It is curious to note that the idea of traces and the reference to the origin of the drawing had already emerged previously in the artist’s work. In 2009, upon being selected for the “Rumos Artes Visuais” (Itaú Cultural, São Paulo), Glasner asked, as a condition for the completion of his work, that he be granted a property outside the institutional exhibition space. The chosen place was a mansion in ruins on Thomás Carvalhal street, where he performed the installation “Future Street.” In the work, black roots and stalks drawn on the walls of the house join the crowns of real trees that outcrop through holes in the ceiling, windows, and destroyed walls. Empty of furniture, objects or portraits, the house is transfigured into canvas, and the walls/stones, marked with charcoal, tell what is imagined on the outside, or what deteriorates on the inside. If the empty house becomes a blank board, the burned debris appears as a tool. But what future does this street that houses only the wreckage of a house indicate?

Two thousand and twenty one — when entering the exhibition at CCBB, we come across a video in which the artist walks over the rubble of what was left of his studio in Itamaracá – Pernambuco State, victim of a fire that not only consumed his house, but also every work that would be part of this show. In a silent atmosphere, which reminds us of Tarkovsky’s films, Kilian leans on the premeditated ruin in old works. Shards, objects displaced from their time, and fragments of memory point to what was not, but could have been. Everything is a trace and from everything is left little “not much: this absurd drop drips from a tap, half salt and half alcohol, this frog leg skips, this clock glass broken in a thousand hopes, this swan’s neck, this childish secret…”1 His mother’s face is left in bronze, a toy soldier from his childhood, stones and coal which, if it used to be an instrument to invent and imagine fire, is now left over. The film goes on and the artist indicates the argument that will guide us
through the entire exhibition. Hammers destroy what were once beams, and coal explodes on paper drawing the cosmos. The universe is leftover, explosion, big bang. The ambiguity of the fires rest here, despite being devastating, it reveals the power to generate another future, from cells to space. This cycle originated each of the works in this exhibition. With an imagery often built on photographs, the artist covers the paper with powder, pastel, charcoal, glue, and other materials that generate a “background” that literally alludes to the macrocosm, conceived in micro particles and cells. Within these surfaces, Kilian embodies symbolic references to objects, figures or places and, through them, encodes its own history.

Macrocosms, Microcosms or the Cosmogony of Fires marks the return of Kilian Glasner to the previous series in a final act that inverts the meaning of the previous creations. Now ruin is no longer representation, it jumps from role to presence, witnesses what has been consumed and, at the same time, points to what can emerge, the dream.

Paulo Kassab Jr.

Roger the Rat , 2021
Roger Ballen,

Sorry, this entry is only available in Brazilian Portuguese.

Roger Ballen, trailer for upcoming film ‘Roger the Rat’, 2020.

More: https://www.rogerballen.com/roger-the…

Throughout his career, Roger Ballen has pursued a singular artistic goal: to give expression to the human psyche and visually explore the hidden forces that shape who we are. In his upcoming film based on his published book, Roger the Rat, he has created an archetypal persona who is a part-human, part-rat creature who lives an isolated life outside of mainstream society.

The full length film will be released during the coming few months and once viewed will remain with you for a lifetime.

Esse sonho pode nunca acontecer , 2021
Gabriella Garcia,

Through paintings, sculptures, installations, works on various supports, the artist Gabriella Garcia reflects on relationships that show the play of opposing pairs: the solid and the ethereal, the volume and the two-dimensional plane, the condensed and the volatile, the past and the present. An unprecedented synthesis of this research will be presented in its first solo show at Galeria Lume.

In the first space of the exhibition, the representation of drapery – movement of fabrics and their folds – in the gaps between paintings and sculptures create abstractions and new perspectives. In the second, located in Lume’s central room, everything connects and each work exists through the other, in a room whose walls are painted with mineral pigment. The relationship with the representation and its surroundings remains, and the artist materializes the painting and paints the material through various supports such as minerals, reproductions of classical images in plaster, canvases, silks and marble.

The artist brings to the public 29 works, paintings, installations and sculptures, loaded with symbols from the history of classical art, and in which she shares her questions and reflections on the hegemonic thinking that hovered in previous centuries. At the beginning of his career, his artistic process brought the use of collage as a driving force and today it carries its influences, as well as the scenic arts. Not by chance, the exhibition is organized in two acts and, open to multiple readings, has different and complementary perspectives in critical texts signed by four curators: Carollina Lauriano, Guilherme Teixeira, Ode and Paulo Kassab Jr.

Exhibition “This dream can never happen”, by Gabriella Garcia, at Galeria Lume, from 17th July to 26th September 2021.

Arte1 – NA MIRA , 2021
Gabriella Garcia,

| T09 | EP37 | 2021 | L |

In the Mira do Arte1: Gabriella Garcia.
Directed by: Gisele Kato

Arte1 – ENCONTRA , 2021
Claudio Edinger,

| T02 | EP01 | 2021 | L |
In this first episode of the second season of the series Encontro, a partnership between Itaú Cultural and the Arte1 channel, the editor-in-chief of Arte1 Gisele Kato talks with photographer Claudio Edinger. Claudio knew that many early 20th-century artists had Spanish flu in their work and then wondered, “what do I have to say about covid-19”? At the meeting, he talks about the records titled “Quarantine”, the search for the universal image, and his master Yogananda. And play the harmonium!

Directed by: Gisele Kato / Ricardo Sêco
Category: Visual Arts

It is six in the morning. The clock on the street announces it. Sixteenth of May, two thousand twenty-one, fifteen degrees. The news shouts that the country accounts for 435,823 deaths and 15,625,218 cases of COVID 19, according to the assessment of the press vehicle consortium – a partnership established between the main media groups in the country, which arose due to delays and data manipulation by the Ministry of Health in Brazil.

If three years ago the word “Fake” was among the most written and replicated, today it is used as a government strategy in news that are the envy of the most inventive screenwriters and that intend to draw attention away from the daily extermination of Brazilians; however, the fable is not a dilemma now. The photographs of the universe are fake or collages of thousands of invented color images. The calendar is a convention for counting time, just like the forms of representation of a territory on a relief map, a photograph or a globe.

Chloroquine, penis-shaped baby bottle, flat earth, Portuguese explorer, Treaty of Tordesillas, Princess Isabel. “History is fiction.” The “First Mass in Brazil” is fiction, both in the letter by Pero Vaz de Caminha and on the canvas by Victor Meirelles. The one who holds the power tells, writes, discloses, even dictates some mythical facts as historical. The faces on the money bills denounce: reality is socially constructed.

Abuse and manipulation of the truth in a despicable, reckless and sordid way omits, rejects and distorts the value of deception. Not of this politician’s hoax, but of reverie, illusion, poetry. Nonetheless, it insists, leaks through the cracks, crosses borders, folds, and makes the everyday object useless to give it new uses, other perspectives. To the photographs that are born with a documentary aura, the artist denies, exposes the verse, the negative, this ghost that is not the image but its passage.

“Amarelinha” no longer promises heaven, a paradise sold in installments in government slogans or entrances to neo-Pentecostal churches. First of all, character comes, or there is the risk of losing the turn.

Real FAKE does not intend to deceive the viewer, but, against all news lies, to honor poetic fantasy and show that, in fact, we can find in imagination and art a stimulus “to think of a more sensible world, to cultivate the chimera of being able to relieve -if not to destroy- the injustices that spread and the inequalities that weigh (or should weigh) like a stone in our conscience.”1

Paulo Kassab Jr.

1. Nuccio Ordine, “The Usefulness of the Useless.”

Open Studio , 2021
Gabriella Garcia,

Gabriella Garcia is a self-taught artist, whose practice ranges between sculpture, painting and installations. With a process that she initially took as collage as a driving force, Gabriella’s work comprises not only the place where she is, but also what it derives from. Cropped figures take the space from works where plaster, fabric, polyurethane, vacuum, metals, minerals, among others, dialogue in the construction of unique pieces that have, in their compositions, magnetism as a tonic. The images in the artist’s constructions, whether bi- or three-dimensional, work as if in a continuous effort of fusion: an incessant search for assimilation of materials that, in their essence, bring in their materiality a unique reality and tangibility. The works put to the test a vivid exercise in the confrontation between gesture and nature; manipulation and relationship, creating a game where what is understood as terrain is the unique possibility that the artistic gesture has to make brutality, lightness.

Canteiro , 2021
Amalia Giacomini,

Our view of the world arises from constant and varied interactions. We are the sum of countless visual, auditory, olfactory and tactile sensations. One cannot escape the fact that people raised in different environments also live in worlds.

Open Studio , 2020
Lucas Dupin,

Ateliê Aberto is Galeria Lume’s web series. We invite you to discover the research spaces of the artists we represent. In this episode the artist Lucas Dupin talks about his processes and shows his studio in Belo Horizonte.

Open Studio , 2020
Claudio Alvarez,

Artist Claudio Alvarez tells a little about his process during the quarantine and presents his studio.

Open Studio , 2020
Nazareno,

Ateliê Aberto é a nova web série da Galeria Lume. Convidamos vocês para conhecer os espaços de pesquisa e criação dos artistas que representamos. Neste episódio, Nazareno apresenta seus processos criativos.

Open Studio , 2020
Alberto Ferreira,

Ateliê Aberto is Galeria Lume’s web series. We invite you to discover the research spaces of the artists we represent. In this episode we present the work of one of the forerunners of photojournalism in Brazil: Alberto Ferreira

Púlpito Público – Maré de Matos , 2020
Maré de Matos,

Sorry, this entry is only available in Brazilian Portuguese.

Púlpito público é uma instalação composta pela junção de três escadas que se encontram em uma plataforma única, com quatro dispositivos sonoros fixados (megafones).

As escadas, dispostas cada uma em um sentido único, simbolizam caminhos que vem de orientações geográficas diferentes e se unem a uma plataforma comum.
Representando o encontro, as diferenças e os múltiplos caminhos, a obra através de sua possível ativação, evoca a pluralidade de vozes. Pensada a partir destas possíveis relações, seu uso a torna um espaço de partilha de locuções, celebração das convivências e respeito às diferenças, como direito fundamental.

A instalação coloca em questão o púlpito enquanto elemento escultórico ativado exclusivamente por oradores, representantes da palavra de deus, ou ainda muito usado por figuras importantes em cerimônias e discursos políticos, uma vez que convoca o público a assumir o espaço de protagonismo de sua própria locução.

Arte 1 – Um Artista , 2019
Marina Hachem,

Sorry, this entry is only available in Brazilian Portuguese.

Marina Hachem
1993, São Paulo, Brasil. Vive e trabalha em São Paulo.

Formada em Artes Visuais pela Fundação Armando Alvares Penteado, estudou também na Central Saint Martins, em Londres. Sua produção transita entre desenho, pintura, objeto, escultura e instalação.

China Ink drawings , 2016
Florian Raiss,
Theatre of Apparitions , 2016
Roger Ballen,

Sorry, this entry is only available in Brazilian Portuguese.

Roger Ballen’s famous photographic work has been concerned with the interior architecture of standing structures, playing on the metaphor of the mind as a house of secrets and buried narratives. He has created a series of images inspired by the drawings and marks which people make on their environment that link his unique aesthetic to theatrical performance. Emma Calder and Ged Haney have used 2d computer animation and a brilliant music score by composer John Webb to turn these images into a film reminiscent of an old music hall or circus. In the theatre dismembered people, beasts and ghosts, dance, tumble, make love and tear themselves apart, plunging the audience into the nightmarish world of Roger Ballen’s subconscious.

DIRECTORS: Emma Calder, Ged Haney
WRITERS: Roger Ballen, Marguerite Rossouw, Emma Calder, Ged Haney
PRODUCER: Emma Calder
ANIMATION: Emma Calder, Ged Haney
EDITOR: Emma Calder
EXECUTIVE PRODUCER: Roger Ballen
SOUND DESIGN: Emma Calder
SOUND EDITOR: Emma Calder
ADDITIONAL SOUND EDITING: Tom Lowe
ARTISTIC DIRECTOR: Marguerite Rossouw
COMPOSER: John Webb

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Inverted Geometry , 2016
Luiz Hermano,

The reverse’s inverse

“Only in language, as well as constructive art, takes place human elevation from the level of sensitive ‘perception’ to the level of the essentially ideal ‘view’. Both are the organs that, in their use, mutually own each other and operate together for the acquisition of an intuitive depiction of the world ” Ernst Cassirer stated.

Since its emergence, the Concrete Movement claims that art should be “entirely conceived by the spirit before its execution and built up with plastic elements in search of purity and formal rigor”1. The meaning of the work is the work itself. In the early 50s, under the impact of the 1st Biennial of São Paulo, Grupo Ruptura (Rupture Group) declares in its concrete manifesto: “art is a means of knowledge deductible from concepts.”
Without attachment to definitions and with Concrete Art influence, the works of the Geometria Invertida (Inverted Geometry) exhibition display a mutable world that never stays the same, but depends on the interaction and intuition of the viewer for its constitution. Squares, triangles, rhombus, and rectangles, white or black, aluminum welded, appear in different forms and harmonically destabilize each of the pieces that emerge in gestaltian graphic forms. The reality of the works are themselves, they do not express a meaning present there, previously known, but give a new physiognomy and significance to space as a whole.
Despite the mathematical reasoning, the creations of Luiz Hermano occur from the disarray of geometric shapes that, in his ideas, seem to become malleable and intuitive. The sculptures undress from its rigidity to inhabit the imagination and the dreamworld.

The exhibition Geometria Invertida opens itself to multiple approach possibilities and frees us to our own daydreams, displaying each piece as a “world instant”2.
Curatorship | Paulo Kassab Jr.

1. Theo van Doesburg – Concrete Art Manifesto, Art Concret magazine– Paris 1930.
2. Gaston Bachelard – The Right to Dream (prefaces, articles and studies from 1939 to 1962).

Theatre of the Mind , 2016
Roger Ballen,

Sorry, this entry is only available in Brazilian Portuguese.

Presenting Roger Ballen’s latest video, Theatre of the Mind, a psychological thriller set in a zone between sanity and insanity, dream and reality, the film takes Ballen’s work to the next level.

Executive Producer: Roger Ballen
Producer: Tanja Bruckner
Creative Director: Marguerite Rossouw
Actors: WART, Peter O’Brien, Peter Leatherby, Aime Smith, Sylvester Kassel, Pricilla Bourne
Sound Design: Shaun Hay
Post Production and Editing: Tanja Bruckner, Andrew Robinson
Special thanks: Liam Garstang, Colin Rhodes, Matthew Krouse, Paul Denny
A Collaboration with Sydney College of the Arts Students and Aliumni: Dylan Batty, Priscilla Bourne, Nick Dorey, Richard Kean, Ryan Brennan, Daisy Knight, Georgina Macneil, Simon Bare, Nikki Walkerden, Tanja Bruckner

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