Galeria Nara Roesler | Rio de Janeiro is pleased to announce the opening of rec/rio
, featuring more than 90 works by Paulo Bruscky.
Bruscky’s third show at Galeria Nara Roesler and his first at its Rio de Janeiro space, rec/rio will focus on three nuclei: works proposed to the city of Rio but never realized, works created while in Rio, and works produced specifically for the Galeria Nara Roesler | Rio de Janeiro exhibition.
Paulo Bruscky, a pioneer of Xerox art, mail, and fax art, emerged on the Brazilian art scene in the late 1960s, one of the nation’s darkest periods of state political oppression. Despite the harsh political climate, he resisted authoritarian structures, staging happenings and interventions and pushing the boundaries of experimentation through the employment of humor and wordplay. As he himself states, he never asked the government for permission to make his art, even when this led to imprisonment; and although many of his projects won important competitions, they almost always were censored.
Featured in rec/rio
are over 50 of his proposals made to the city of Rio. Some have since been realized, such as Fogueira de gelo
, which was completed during the 2010 São Paulo Biennial, but the majority remain unfinished. In response to this, Galeria Nara Roesler is producing, for the first time, the work Tiro ao alvo
. First proposed in 1971 at the I Salão de Arte da Eletrobras, the work consists of light, caught on mirrors, projecting itself, and turning on a radio as an end result. Tiro ao alvo
can only be activated by the public playing the traditional children’s game from which the work takes its name.
Known for his active involvement in the international mail art movement and for the dynamic relationships he forged with international artists, including those in the Fluxus and Gutai movements, Bruscky has always been an artist in communication with the world. In rec/rio
, he brings to the gallery works that he created in the air, while traveling to and thinking of Rio. A sort of communication to himself, his poem Poema para VoAR
welds two planes together to form one. His communications will extend to the larger population of Rio with the publication of one of his iconic classified ads on July 30, 2016, in the journal O Globo
, calling readers to the gallery to have their copy signed by the artist on the day the exhibition opens.
Always contemporary but never obvious in his process and creation, Bruscky presents a twist on the status quo, as seen in his feet “selfies” Pés de Bruscky I
or his firecracker paintings (Traques II
brings old memories and new works to Rio, adding depth and layers to his existing body of work, which spans over 45 years. His work reflects a simultaneous engagement with a local artistic framework and with a global network, which Bruscky fil¬tered and documented through artist books, urban interventions, performances, visual poetry, Super 8s, art classifieds, and ready-made sculptures. Tra¬versing multiple mediums and often employing his surroundings as primary material, his production cannot be spoken of as a unified body of work. On the contrary, poetic experimentation, a versatility of media, and an interest in processes of circulation and distri¬bution lie at the core of Bruscky’s practice, which refuses to be bound to one medium, form, or movement.
about the artist
Paulo Bruscky was born in 1949 in Recife, Brazil, where he lives and works.
He was featured in the 16th, 20th, 26th, and 29th editions of the São Paulo Biennial (1981, 1989, 2004, and 2010) and the 10th Havana Biennial, Cuba (2009), among other biennials. Recent solo shows include Paulo Bruscky
(Museu de Arte Moderna de São Paulo, São Paulo, Brazil, 2014); Paulo Bruscky: Artist Books and Films, 1970–2013
(The Mistake Room, Los Angeles, USA, 2015; Galeria Nara Roesler, São Paulo, Brazil, 2014); Art Is Our Last Hope
(The Bronx Museum, New York, USA, 2013); Paulo Bruscky
(Plataforma Bogotá, Bogotá, Colombia, 2013); Banco de ideias
(Instituto Tomie Ohtake, São Paulo, Brazil, 2012); and Arte correio
(Centro Cultural dos Correios, Recife, Brazil, 2011). His works are included in the collections of MoMA, New York, USA; Guggenheim Museum, New York, USA; Tate Modern, London, England; Museu de Arte Moderna de São Paulo, São Paulo, Brazil; Museu de Arte Contemporânea da Universidade de São Paulo, São Paulo, Brazil; Museu d’Art Contemporani de Barcelona, Barcelona, Spain; and Stedelijk Museum, Amsterdam, Holland, among others.
about the gallery
Galeria Nara Roesler is one of the leading contemporary art galleries in Brazil, with locations in São Paulo and Rio de Janeiro, in addition to a recently opened viewing room in New York. Founded in 1989 by Nara Roesler, the gallery has consistently fomented curatorial and artistic practice through an ambitious exhibition program, created in close collaboration with its artists and invited curators, and has participated in major international art fairs. Firmly committed to advancing the careers of its artists, Galeria Nara Roesler collaborates in the publication of monographs and extends continuous support beyond the gallery space.
For more information, please contact the gallery: [email protected]
Press release courtesy Galeria Nara Roesler.