A group of voices accompanies me in the exhibition. They are singing words I cannot comprehend, yet the warm tunes are familiar: folk songs, love songs, songs of longing. There are letters, too. They speak of the quotidian details of a soldier's life: the hardness of the war, sending money to the family, and longing for familiar landscapes, food,...
There has been a flurry of triennial and biennial art activity in Japan this year. The Aichi Triennale opened in Nagoya this August, sparking a national debate about the shutting down of a display of formerly censored works—the result of public backlash against a burnt image of Emperor Hirohito and a statue commemorating the women forced into...
Hans Hartung and Art Informel at Mazzoleni London (1 October 2019-18 January 2020) presents key works by the French-German painter while highlighting his connection with artists active in Paris during the 50s and 60s. In this video, writer and historian Alan Montgomery discusses Hartung's practice and its legacy.Born in Leipzig in 1904, Hans...
Em meio aos preparativos para I Want To Be Like You, exposição individual que inaugura em setembro, na Galeria Nara Roesler | New York, Carlito Carvalhosa abre as portas de seu ateliê no Rio de Janeiro e fala sobre seus trabalhos recentes, em sua maioria realizados em tinta óleo sobre cera e peças de alumínio. Ao falar sobre sua trajetória artística, Carlito destaca a influência do pintor norte-americano Philip Guston e discorre sobre o ato de revisitar trabalhos anteriores.
Carlito Carvalhosa (b. 1961, São Paulo, Brazil) lives and works in Rio de Janeiro. Carvalhosa studied Architecture and Urbanism at the Universidade de São Paulo (FAU/USP) from 1980–1984.
Recognised widely throughout Brazil, he emerged in the Brazilian art scene in the 1980s as a member of the São Paulo based collective Grupo Casa 7, alongside Rodrigo Andrade, Fabio Miguez, Nuno Ramos, and Paulo Monteiro during this period of time, he produced large paintings with an emphasis on the pictorial gesture. In 1989, Carvalhosa took part in the German Academic Exchange Service (DAAD) and lived in Cologne, Germany until 1992. Carvalhosa uses diverse mediums and found objects—including electric lights, fabric, wax, and mirrors—to explore architectural space and the nature of materials. He began his career creating abstract paintings that blended painterly gestures with an emphasis on materiality, and continued to explore his fascination with materials with work in sculpture, applying the Egyptian lost-wax method and working with porcelain. According to Portuguese curator Marta Mestre, what interests the artist is 'the relationship between space and the act of building. Mobilized by the artist, the building is a process of reordering the world ahead, support is chaos and thus differentiating activity in the face of nature.' Furthermore, Mestre emphasizes that Carvalhosa 'runs through his work a thought of sculpture as construction, adding gesture and minus the void.'
Carvalhosa’s more recent work has involved architectural interventions and interactive installations, his best-known piece being Sum of Days (2011), a monumental site-specific installation for the MoMA’s atrium. Hanging a white, translucent material from the ceiling and a system of microphones that recorded and replayed the accumulation of each day’s ambient noise, he placed viewers in an experience of total spatial and sonic immersion. His current work deals with site-specific installations that define the limits of surrounding architecture, suspending spatial references and allowing for total immersion employing elements like fabric, mirrors and lights. In 2013, Carvalhosa installed Sala de espera (Waiting room) at MAC-USP, throughout the space twenty-four wooden street posts are suspended in the exhibition space in conjunction with the architecture.
He featured in the 18th São Paulo Biennial, Brazil (1985); the Havana Biennial, in Cuba (1986 and 2012); and the Mercosul Biennial, in Porto Alegre, Brazil (2001 and 2009). Individual exhibitions include: Precaução de Contato (Galeria Nara Roesler, São Paulo, Brazil, 2014); Sala de espera (Museu de Arte Contemporânea da Universidade de São Paulo, São Paulo, Brazil, 2013); and _Sum of Days _(MoMA, New York, USA, 2011).
Galeria Nara Roesler | New York is pleased to present I Want to be Like You, an exhibition featuring a selection of works by Carlito Carvalhosa produced in the 1990s and after 2015, that aspire to be territories of both tension and dialogue.
'How did I end up here?' and 'What brought me here?' are some of the questions that Carvalhosa raises about his path as an artist. For him, being an artist has never been about following a preconceived route: 'It was something that gradually happened', he explains. However, Carvalhosa's trajectory cannot be told in linear terms of cause and effect but rather through uneven paths, where elements can disappear and reemerge after a time gap.
'The idea was to take works from the 1990s and revisit them in order to create pieces that are a copy of something I have already done, but with a significant time difference between them', explains the artist, adding that '[...] it is this challenge which makes the exhibition interesting—it is a place where things clash and, although they narrate different subjects, they can communicate amongst themselves'.
In his early wax works the research was centred on the possibilities of light in opposition to the creation of opaque zones, via the overlapping of layers of wax, resin and paraffin. Over time, colouration and creases on the surface of the artworks became indexes of their lifetime. Whereas in his recent practice, the use of colour and the tension between painting and sculpture became more prevalent.
In regards to the works on mirrored aluminium, Carvalhosa points to the fact that the canvas is the place where things are projected, while the mirror does precisely the opposite, unleashing a sense of disquiet that interests him. We normally expect mirrors to be pristine surfaces that perfectly reflect their surroundings. Meanwhile, Carvalhosa paints what isn't expected to be painted: 'The mirror does not exist, it has a sort of tension that the painting erases. The painting ends up being nowhere. It floats'.
A sculptural inclination for testing the malleability of materials is a seminal aspect of the artworks in I Want to be Like You. In the wax objects, for instance, we can observe traces of the artist's manipulation whilst we note hammer marks on the mirrors. 'Without the marks [the mirror] is mere reflection', states Carvalhosa. 'In turn, with the use of wax, which has formal qualities that are almost the opposite to mirrored aluminium, tools are not necessarily required, since you can use your thumbs and fists to handle the material, creating impressions that are subsequently covered with spots of paint.'
A concern with the surface is recurrent in Carvalhosa's artistic trajectory, expressing 'the impossibility to feel a surface with no thickness or, conversely, to unambiguously guess an object's volume by looking at its surface', as explained by critic Lorenzo Mammi, is recurrent in Carvalhosa's work. After almost two decades, it is the artist himself who observes that in his works, what we see is not what we touch, and what we touch is not what we see. 'A series of intertwined signs make the work stand for, not only for what is inside, but also for what is around it and what is the relationship between works.' Carvalhosa also mentions the presence of an 'image brutality and painting sophistication that generate a strange friction: the surface starts to vibrate'.
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