Lucas Dupin, Untitled, Series 7 performances for Pça. do Patriarch, 2018. PHOTO: Alessandra Haro

A man lures pigeons from Patriarch's Square by throwing food at them. He lets them get closer. When a good group of birds is formed around him, he releases a firecracker to disperse them. This script is what drives an untitled video-performance that is shown at the exhibition Ground floor, by Lucas Dupin, at the Lume gallery until 28/7.

“The hand that strokes is the same that stones”, the artist uses an iconic verse by Augusto dos Anjos to summarize the idea behind the aforementioned performance. She is one of the seven he prepared to perform at Praça do Patriarca, in São Paulo. Born in Belo Horizonte, the artist has already traveled extensively around Brazil and the world to study art and participate in residencies. Dupin was the winner of the 2nd Energias da Arte Award, given by the Tomie Ohtake and EDP institutes. He has participated in residencies in Canada, the United Kingdom and more recently at FAAP, in São Paulo.

The works presented in the exhibition at Lume are the result of several processes by Lucas over the years. Despite having contexts that refer to the urban theme, they were not thought of in a group context for the exhibition. “I didn't intend to do a retrospective, nor to pick a theme”, he comments and continues: “Afterwards I thought and saw that it had everything to do with the ground, with that downward gaze”, he says.

Lucas Dupin, Hanging Gardens, 2015-2018

Lucas also states that he likes to hear what his works say: “I don't do any project from a premise, it's always from a process of dialogue, of listening. That is why he has works in numerous languages, numerous formats and numerous subjects”. For him, it is a difficulty in today's world, where things have to fit together very easily.

He ended up seeing, then, the intersection between the works that are years away from the execution and fell into a text by Antônio Cândido. In Life on the ground floor, the sociologist and literary critic who would be 100 years old in 2018, comments on the duration of the chronicle genre, which would always be “on the ground”, as it is transitory and deals with common themes.

Thus, Dupin arrived at the title of the show and declares how close to a chronicle his exhibition and all his research work are: “I am interested precisely in taking what is as banal and prosaic as possible, moving it and taking another look. I like to take things somewhere else.”

Drawings of popping cracks on the floor and even photographs of rubber bands from newspapers thrown on the street are some of those simple things that Lucas puts in another perspective. In the most talked about work in the exhibition, Hanging Gardens, he cultivates intrusive plants between the openings of the Portuguese stones pendant, which he removed from the pavement in front of the gallery.

“Despite being Rés do Chão, having this proposal of looking down, the works have the dimension of time, of permanence”, he says. This is because the artist is always looking for the mark of time in the objects he uses for his works, whether in the remains of Portuguese cobblestones, popular in the 19th century, or in the duration of the process of making the work, such as painting butt by cigarette butt. in watercolor. It is in this way that the artist shows that the banal everyday still matters for art.

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