Opening: November 24 at 8pm
November 24 – January 16
Galeria Vermelho, Sao Paulo
Group exhibition gather together artworks that use photography as a narrative instrument
Curated by Denise Gadelha
Works by over 50 artists, including Alice Miceli, Bruno Vilela, Cao Guimaraes, Carlos Mélo, Gisela Motta and Leandro Lima, Ícaro Lira, João Castilho, Jonathas de Andrade, Marcelo Moscheta, Marilá Dardot, Mayana Redin, Michel Zózimo, Pedro Motta, Roberto Bellini, Romy Pocztaruk, Rosangela Rennó (artista que foi membro do Júri de Premiação do PIPA 2015), Vanderlei Lopes and Washington Silveira.
The exhibition presents a polyphonic set of works marked by the presence of photography as a narrative instrument. The show proposes an interlocution stablished from the research contemplated by the XIII Premio Marc Ferrez de Fotografia (Funarte), which possibilited the contact with different faces of the artistic production networks in ten cities, from North to South in Brazil.
The plural character of this investigation reflects on the tendency of contamination among languages; not only from the optic of post modern hybrid aesthetic, but also, keeping harmony with the symbiosis between text and image, amplified even more by the interactive complexity of communication in the contemporary society. The transmission of an event is facilitated by overlapping different medium to describe complementar aspects in its senses attributions. Overall, texts are invaded by images and those are ressignificated by writing.
“Fotos contam Fatos” casts unconventional approaches, when compared to traditional photography. The research looks for other paths when articulating photographic propositions that transit between artistic categories. The dialogue is amplified in a context that values the reading of the image as a narrative vehicle in variated supports, such as installation, sculpture, object, video, books and publishings.
The selected works represent a diverse universe of postures that transcend the isolated meaning of an image and gather together exterior connexions by using a series of strategies, such as the disposal of multiple images in narrative sequences or the use of photographs treated as semantic unities in “visual phrases” that create bigger sets.
In “Fotos contam Fatos”, photography is seen as a starting point and not an end in itself. The construction of meaning happens in the meeting and is attributed to the dynamics between things. More than an instrument that registers past, photography collaborates to the sedimentation of another temporal reality version, echoing now.
Group exhibition gather together artworks that use photography as a narrative instrument
