How should net art be classified, historicised, and exhibited, when time has elapsed between its initial production and its latter presentation? On view at the New Museum from 22 January to 26 May 2019, The Art Happens Here: Net Art's Archival Poetics presents 16 seminal artworks from Net Art Anthology, an ambitious two-year initiative undertaken...
Times Art Center Berlin is a non-profit art institution located in the Potsdamer Strasse Art District of Berlin. It was founded in July 2018 by the Guangdong Times Museum, a non-profit private art museum in the Pearl River Delta (PRD) region of China, making this the first parallel institution founded overseas by an Asia-based art museum. Its...
'Poems are like sentences that have taken their clothes off.' Marlene Dumas' poetic and sensual refrain accompanies her figurative watercolours on view in Possibilities for a Non-Alienated Life, the fourth edition of the Kochi-Muziris Biennale (KMB) in the southern state of Kerala, India (12 December 2018–29 March 2019).Dumas' new series...
José Patrício was born in 1960 in Recife, Brazil. He graduated from the Federal University of Pernambuco in 1982. Currently, the artist lives and works in Recife, Brazil.
José Patrício works with everyday readymade objects to create patterns and images, either in an orderly or fairly free manner, but always resulting in both enigmatic and familiar-looking creations. Patrício began to use domino pieces in his works in 1999, and ever since, they have become a key element in several works. Patrício's installation Ars combinatoria (2005) consisted of dominoes that formed a seemingly endless variety of square patterns in vibrant shades of emerald and ocher on the floor of a French abbey. When audiences viewed the installation from afar, the pattern assumed an almost painterly, tonal, overall appearance, which contrasted with the graphism of each individual domino piece. According to the critic Moacir dos Anjos, 'the works express the artist's desire to reconcile the rigour of repetitive and regular form with the randomness that, to a large degree, governs the world.'
Patrício is also influenced by the geometric and concrete art movements in Brazil (heralded by Almir Mavignier). By employing various materials, such as darts, buttons, and nails, the artist abandons the original usage of these materials and reassembles them in a new form that results in unexpected formal compositions. As said by the critic and curator Paulo Sérgio Duarte, Patrício's accumulation procedure places us 'on a different level than the issues set forth by the progress of science and technique in artwork.... As the terrain of combinatorial mathematics is incorporated as a starting point, we are faced with the combination of series, endless in their possibilities. The problem is no longer the reproduction of the same; it is now about producing endless others from the same.'
Selected solo exhibitions include Avulsos (2015), Galeria Nara Roesler, Rio de Janeiro, Brazil; Afinidades Cromáticas (Chromatic Affinities) (2014), Galeria Nara Roesler, São Paulo, Brazil; José Patrício: Os amigos da gravura (Friends of Printmaking project) (2013), Museu da Chácara do Céu, Rio de Janeiro, Brazil; Silvacane Abbey, Aix en Provence, France (2005); Paço das Artes (Palace of Arts), São Paulo, Brazil (2002); Paço Imperial(Imperial Palace), Rio de Janeiro, Brazil; and Galeria Metropolitana Aloísio Magalhães, Recife, Brazil.
Selected group shows include Encruzilhada (Crossroad) (2015), EAV Parque Lage, São Paulo, Brazil; Asas e Raízes (Wings and Roots) (2015), Caixa Cultural, Rio de Janeiro, Brazil; Triangulações (Triangulations) (2013), Museu Nacional do Conjunto Cultural da República, Brasília, Brazil; Ars Combinatória (Combinatorial Art), site-specific installation for Art HK Projects, curated by Yuko Hasegawa, Hong Kong International Art Fair 2012,Hong Kong, China; Art in Brazil (1950–2011) (2011), Palais des Beaux Arts, Brussels, Belgium; and LO[S] CINÉTICO[S] [The Kinetic(s)] (2007), Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain; as well as numerous other exhibitions since 1982.
Patrício's works are in collections such as the Cartier Foundation Collection, Paris, France; Museu de Arte Moderna Aloísio Magalhães, Recife, Brazil; Museu de Arte Contemporânea de Pernambuco, Olinda, Brazil; National Museum of Fine Arts, Rio de Janeiro, Brazil; Museu de Arte de Brasília, Brasília, Brazil; and the Gilberto Chateaubriand Collection/Museum of Modern Art, Rio de Janeiro, Brazil, among others.
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