Twenty-five years after holding her first solo show at Pinacoteca de São Paulo, Elisa Bracher creates a dialogue with the exhibition space, a hallmark of her work, through three installations, made of wood, paper and lead, which make up the exhibition. living forms, on display at Pina Estação. Curated by Pollyana Quintella, Elisa takes up other important aspects of her production, namely weight, balance and composition.
In her curatorial text, Pollyanna highlights “[Elisa's] ability to intimately engage with materials and their qualities. Then, his way of dealing with the body of the institution as a work matter. For Bracher, there is no work before space, there is only work from space, in response to it,” she writes. The artist corroborates the curator's vision: “Every exhibition I do is very shaped and determined by the space. I keep working in the atelier, but I need, at the end, to relate to the environment, create possible dialogues ”, she says, in an interview with arte!brasileiros.
Some of the works on display, made especially for living forms, came, in turn, from artistic investigations that Elisa had already carried out in her studio, in Vila Leopoldina, in São Paulo. new body, an installation with wood and stone, for example, was based on an experience exhibited last year at Galeria Estação, in the exhibition Nobody's land. The unpublished work, however, has significantly larger dimensions. And to them were added black and white photographs, superimpositions of the dense vegetation of the Serra da Mantiqueira, taken by Elisa in São Bento do Sapucaí, in the interior of the state.
“The photographs create a counterpoint with the installation, referring to a before and an after, to wood and the question of where it comes from and what it turns into”, comments Elisa, recalling that she had shown photographs of her authorship only once in her career. , when it launched in 2008 the book and exhibition The city and its shores, at the Brazilian House Museum.
In the installation, Elisa uses demolition wood, purchased or collected from old farms in the interior of São Paulo, mixed with pieces of old works, in an accumulation process that started from the beginning of her trajectory. The stones are also leftovers from previous works and had been purchased in Cachoeiro de Itapemirim, in Espírito Santo. In this long process of accumulation, the materials remain in Elisa's studio, until connections like the ones we see now at Pina Estação emerge. For the artist, even though it refers to a destructive and violent process, new body “it shows that there are possible compositions, it is an optimistic work, I would say”.
In another room, Elisa displays a clothesline made of iron bars – the structure was taken from the studio to the exhibition space – from which drawings that had never been shown like that before hang, to dry, forming a “sculptural body”, as described in a press release from Pina Press. In the drawings, there is a very organic mix of contours and filled areas, in red, yellow and black tones. As a counterpoint, the artist presents two videos that allude to the drawings, and in which a flow of liquids is observed inside a gut, encapsulated by glass.
“The film was born about eight years ago, from the drawings, in an attempt to materialize them, as if their materiality was not enough for me”, says Elisa. The glass, she explains, had been discarded from another series of jobs. The beef tripe, in turn, was bought around 20 years ago at the Mercado de Pinheiros. “I suddenly gathered the ideas. I called a friend to film, so that we could finally have a product, and not just a studio practice”, she explains. Elisa herself pushed a mixture of pigment and oil into the container inside the casing, and, outside it, a combination with oil, again, and even white paint and water, “to create these elements that do not talk to each other”.
living forms, by Elisa Bracher
Curator: Pollyana Quintella
Pina Estação – Largo General Osório, 66, São Paulo – SP
Visitation: Wednesday to Monday, from 10 am to 18 pm