State / Federal District

For over 25 years, glass has been the source of study for Patricia Bagniewski. The material is conceptually and procedurally very rich. Its transparency is almost an optical illusion, visible and semi-invisible. “It plays with our perception” says the visual artist, who for the show at Referência investigates the microbiology and alchemy involved in primordial creation. In her studio/laboratory, the artist emulates scientific experiments, mutations of microorganisms in glass installations, video, serigraphs, performance, light and shadow.

Curator Marília Panitz points out that this is an exhibition that results from research into the poetic possibilities “of this mysterious material that is glass. Made from the transformation of silica (sand, volcanic lava…) by heat and rapid cooling, it offers us transparency, hardness, impermeability and… fragility”. And she continues: “The discovery of glass dates back thousands of years and emulates the alchemical practice of transfiguration of materials. Patrícia Bagniewski chose glass as a support and material for her artistic research. She sought to learn the magic of transformation (in London, Japan or the island of glass, Murano, in Venice, where she has been several times). She sought its history and its symbology.

He sought science and its surprising findings. He resorted to Jung and the history of philosophy and alchemy, bringing from the second principle of Hermes Trismegistus – that of correspondence – the name he gave to the exhibition… In it, some recent series of work in glass or based on it: Atos – composed suspended objects parts in glass, metal and magnets; the Sublimation/Coagulation Installation;

The Petri series – where the well-known round laboratory plates receive compositions in glass and metal; Sopa Primordial – series of mirrors with glass elements on their surface; a series of 5 serigraphs obtained by the shadows of the composite glass objects and a video that captures the movement of the glass elements and their shadows, composing a dance that reminds us of images seen through a powerful microscope. All of them multiplied and extended by the effects of light and shadow, a spectacle of instability: vertigo and distension”.

Service
Exhibitions | What is below is like what is above, what is above is like what is below
From August 05th to September 09th
Monday to Friday, from 10 pm to 19 pm
Saturday from 10 am to 15 pm

In her first individual, Fred Lamego turns to the forms and voids of a monumental Brasília. The exposure falling geometries presents 15 photographs produced between 2020 and 2022 in which the artist recorded buildings and spaces designed as part of the modern architectural project of Brasília.

Photographer since he was 15 years old, over time he has had a special interest in urban space and architectural form as an expression of relationships and force fields that are established in the space of cities. The exhibition is the result of a year and a half of critical follow-up conversations between the artist and curator Yana Tamayo and presents images that propose a more intimate approach to the concrete materiality that sustains modern architecture from a fragmented and sensitive look at these spaces.

In these images we can see the skeletons of the famous concrete curvatures that, when seen up close, escape the totalizing images we know from postcards. The surfaces present in Fred Lamego's photographs falter: They oscillate between the weight of an ancient structure of thought – a kind of future from the past – improbable gardens and the meticulous texture of manual molds made of wood and handcrafted by thousands of working hands.

Conversations with artists and curators

During the exhibition period, there are two meetings with the artists and curators. On the 19th of August, Saturday, at 11 am, Patrícia Bagniewski and Marília Panitz participate in a conversation about studio processes. On September 2nd, Saturday, at 11 am, Fred Lamego and Yana Tamayo discuss the artist's immersive processes in the city. With free admission, the conversations are open to the public.

Service
Exhibitions | falling geometries
From August 05th to September 09th
Monday to Friday, from 10 pm to 19 pm
Saturday from 10 am to 15 pm

In her first exhibition in Brasília, the Venezuelan artist presents a section of her production that is related to a Latin American pictorial tradition, with geometric abstractionism, Op Art and Kinetic Art as starting points for a work in which line and ink blend into subtle, pulsating images

From October 2023 to January 2024, the Brasília Art Museum (MAB) hosts the exhibition “The thread that connects”, by the Venezuelan artist based in Lavras (MG) Isabella Despujols. With eight works in medium and large formats, the artist presents a sample of her production in acrylic painting and embroidery in geometric abstractions that flirt with Op Art and kinetic art. Her works are part of private collections and public institutions such as the Inhotim Institute (MG) and the FAMA Museu (SP). The exhibition “The thread that connects” is carried out by Jackie Shor Projects with the support of MAB. Visitation is from Wednesday to Monday, from 10am to 19pm. Entry is free and free for all audiences. The MAB is located in the SHTN, section 1, Projeto Orla, pole 3, lot 5 / Brasília – DF. Instagram @museudeartedebrasilia.

Graduated in Fine Arts from the Miami International University of Art and Design, United States (2014) and Bachelor in Art History from the University of Palermo, Buenos Aires, Argentina (2020), she lived with the works of Latin American masters of kinetic art and Op Art, Venezuelans Carlos Cruz-Diez and Jesús Rafael Soto, his main references in the visual arts. “At university I specifically studied painting. I learned techniques for working with painting in layers, creating color tones based on those I already had”, says the artist who is presenting her production in Brasília for the first time.

“The main focus of my work is the study of the behavior of color in relation to the background color and that of other lines”, says Isabella Despujols. “Geometry has always been my favorite visual language, and kinetic art has always been a very close reference for me to study and create”, highlights the artist.

Curator Cinara Barbosa, who wrote Despujols' presentation text for the exhibition in Brasília, states that the artist connects to her formative experiences to develop her own investigation and technique. “It connects to a reference production in its formation such as Carlos Cruz-Diez and Jesús Rafael Soto, confirming principles that abdicate figurative representation. In search of a subtle and at the same time pulsating plasticity, she mixes painting processes in the background to highlight colors. She creates nuances of relative depth by building games of geometric shapes in her compositions and attributing other visualities to the embroidery tradition,” writes Barbosa.

Regarding the entry of thread and embroidery into his production, Despujols says that thread and embroidery entered his production when he was working on a series of abstractions inspired by fabrics. “I started imitating the fabric line with paint. I just thought the work would be more interesting if I mixed the line. I then started to embroider self-taught along with the use of paint. Then, I realized that with line I could “paint” as if it were paint”, he continues. “The line has enough versatility to work with layers, mix colors, and create optical effects, typical of the kinetic works that I admired so much. Over the years, I have perfected the embroidery technique that I developed myself until arriving at the proposal that I am currently working on and that I hope to continue developing”, he says. Currently, Despujols is developing a series whose main source of inspiration is kineticism and Op Art. “I seek to generate the sensation of movement through colors and the location of lines in the composition”, he adds.

Service
Exposure | The thread that connects
From October 10th to January 31st
Wednesday to Monday, from 10 am to 19 pm

In the exhibition, with the exhibition of 30 works from the artist's most recent production, Sérgio Adriano H proposes to think about the untold, erased and silenced stories of black people. To this end, he appropriates books, objects and images where black people appear, but not as agents of history, and reframes them based on the notion of belonging and protagonism.

          The exhibition opens at CAIXA Cultural Brasilia on October 17, 2023, where it will be on display, at Galerias Piccola I and II, until December 17. With free entry, visits take place from Tuesday to Sunday, from 9am to 21pm, and are free for all audiences. On the morning of the 18th, there will be a meeting with the artist from 9 am, when Sérgio will lead the public on a guided tour of the galleries, to talk about his career and work.

Em deCOLONIZE BODIES, “Sérgio presents us with works that tension dualities and contest barbarities, mapping words and images that permeate the universe of discrimination and perpetuate the mistakes between the hidden history and the history given in the meaning of Brazilian society”, points out curator Juliana Crispe .

A contemporary subject, Sérgio, according to the curator, proclaims structural changes in his production, displacing classes, identity cultures, sexuality, genders, ethnicities, races and nationality. “It removes the solidity of the boundaries between the multiplicity of bodies and points out other ways of seeing your ancestry, your desires, to create ways of narrating your own life”, describes the curator.

Based on these paradigms, the artist, who is also a performer and researcher, questions, as he himself conceptualizes, the “systems of truth” or the “presented truth” that works at the service of power, the economy, religions or groups that perpetuate themselves at the top of the social pyramid.

With the collection presented in this exhibition, the artist exposes how much we are asleep in the face of structures that naturalize historically marginalized bodies, and exposes social and political fissures from which the history of art is not unscathed.

In this decolonial turn, proposed by Sergio in deCOLONIZER CORPOS, he inserts visitors into a movement that consists of looking at history without denying it, however, interrogating it and suggesting new systems. “It is not a new universe that presents itself as true, but which seeks, above all, to interrogate previously existing universes, making them no longer indisputable references or the only legitimized ones”, says Juliana.

Service
Exposure | deCOLONIZE BODIES
From October 18th to December 17rd
Tuesday to Sunday, from 9:21 to XNUMX:XNUMX

In December, the Art Gallery Reference opens two exhibitions of female artists who work with painting from a perspective on the feminine. In the Main Room, Veridiana Leite presents "Supernova", a collection of liquid and nocturnal landscapes curated by Cristiana Tejo. In the Collection Room, Clarice Gonçalves presents “Repository of Pulses”. They are acrylic and oil paintings on canvas in different formats that either never left the studio or were rarely exhibited, curated by Paulo Vega Jr.

The exhibitions open to the public on December 9th, from 11am to 15pm, with a guided tour of the “Supernova” exhibition. With free entry and free for all audiences, visits are from Monday to Friday, from 10am to 19pm, and Saturday, from 10am to 15pm, until January 20, 2024. The reference is at 202 Norte, Bloco B Loja 11, underground, Brasília-DF. Telephones (61) 3963-3501 and (61) 981-623-111 (WhatsApp). Instagram @referenciagaleria.

Supernova
Paintings
From | Veridiana Leite
Curation | Cristiana Tejo
Main Lounge

“What is there is feeling, intuition. At first there may even be identified images that are like a starting point, but what happens afterwards, I don't control. These landscapes are more sentimental than real, imaginary places of the unconscious. In fact, it's not just about the dreams I'm working on, but about the transformations I'm experiencing, even if sometimes they are magical and sometimes disturbing.”

Clarice Gonçalves

Curator Paulo Vega Jr. states that: “Clarice Gonçalves’ work is and needs to be, at the very least, uncomfortable. The artist, who works on topics that are in vogue today, but since before they emerged as strong and major trends in the arts, does not fall into the seductive trap of illustration or the pedagogization of social issues through artistic production. He emphasizes that Clarice Gonçalves does not produce booklets or pamphlets in the form of works of art. “She produces works of art that are open to interpretation and subjectivity and this is what sustains her production and trajectory.”

In “Repositório de Pulsões”, a title borrowed from one of the artist’s paintings from 2005/2026, Clarice presents works that have in common the fact that they have been little seen or even never presented to the public, whether in individual or collective exhibitions. for the most diverse reasons. “However, they have lived in my studio and my technical reserve for years”, says the artist. “I often find myself returning to topics considered taboo, as their debate continues to be necessary and urgent: Childhood helplessness, absent fatherhood, abuse, obstetric and neonatal violence, reproductive and care work (and internalized misogyny in all these sectors), sexuality and integration into nature are recurring themes throughout my work over almost 20 years of career”, adds Clarice.

They are paintings of different moments and dates, from the beginning, in 2005, 2006 in acrylic on canvas, to more recent works. Some of them have been ready for years without showing them, even virtually. They remained to mature, or rather, waiting for us to mature as a society so that we can exercise the capacity to enjoy them and rethink our existences.

Service
Exhibitions | “Supernova” and “Drive Repository”
From December 09th to January 20th
Monday to Friday, 10am to 19pm, Saturday, 10am to 15pm

For over 25 years, glass has been the source of study for Patricia Bagniewski. The material is conceptually and procedurally very rich. Its transparency is almost an optical illusion, visible and semi-invisible. “It plays with our perception” says the visual artist, who for the show at Referência investigates the microbiology and alchemy involved in primordial creation. In her studio/laboratory, the artist emulates scientific experiments, mutations of microorganisms in glass installations, video, serigraphs, performance, light and shadow.

Curator Marília Panitz points out that this is an exhibition that results from research into the poetic possibilities “of this mysterious material that is glass. Made from the transformation of silica (sand, volcanic lava…) by heat and rapid cooling, it offers us transparency, hardness, impermeability and… fragility”. And she continues: “The discovery of glass dates back thousands of years and emulates the alchemical practice of transfiguration of materials. Patrícia Bagniewski chose glass as a support and material for her artistic research. She sought to learn the magic of transformation (in London, Japan or the island of glass, Murano, in Venice, where she has been several times). She sought its history and its symbology.

He sought science and its surprising findings. He resorted to Jung and the history of philosophy and alchemy, bringing from the second principle of Hermes Trismegistus – that of correspondence – the name he gave to the exhibition… In it, some recent series of work in glass or based on it: Atos – composed suspended objects parts in glass, metal and magnets; the Sublimation/Coagulation Installation;

The Petri series – where the well-known round laboratory plates receive compositions in glass and metal; Sopa Primordial – series of mirrors with glass elements on their surface; a series of 5 serigraphs obtained by the shadows of the composite glass objects and a video that captures the movement of the glass elements and their shadows, composing a dance that reminds us of images seen through a powerful microscope. All of them multiplied and extended by the effects of light and shadow, a spectacle of instability: vertigo and distension”.

Service
Exhibitions | What is below is like what is above, what is above is like what is below
From August 05th to September 09th
Monday to Friday, from 10 pm to 19 pm
Saturday from 10 am to 15 pm

In her first individual, Fred Lamego turns to the forms and voids of a monumental Brasília. The exposure falling geometries presents 15 photographs produced between 2020 and 2022 in which the artist recorded buildings and spaces designed as part of the modern architectural project of Brasília.

Photographer since he was 15 years old, over time he has had a special interest in urban space and architectural form as an expression of relationships and force fields that are established in the space of cities. The exhibition is the result of a year and a half of critical follow-up conversations between the artist and curator Yana Tamayo and presents images that propose a more intimate approach to the concrete materiality that sustains modern architecture from a fragmented and sensitive look at these spaces.

In these images we can see the skeletons of the famous concrete curvatures that, when seen up close, escape the totalizing images we know from postcards. The surfaces present in Fred Lamego's photographs falter: They oscillate between the weight of an ancient structure of thought – a kind of future from the past – improbable gardens and the meticulous texture of manual molds made of wood and handcrafted by thousands of working hands.

Conversations with artists and curators

During the exhibition period, there are two meetings with the artists and curators. On the 19th of August, Saturday, at 11 am, Patrícia Bagniewski and Marília Panitz participate in a conversation about studio processes. On September 2nd, Saturday, at 11 am, Fred Lamego and Yana Tamayo discuss the artist's immersive processes in the city. With free admission, the conversations are open to the public.

Service
Exhibitions | falling geometries
From August 05th to September 09th
Monday to Friday, from 10 pm to 19 pm
Saturday from 10 am to 15 pm

In her first exhibition in Brasília, the Venezuelan artist presents a section of her production that is related to a Latin American pictorial tradition, with geometric abstractionism, Op Art and Kinetic Art as starting points for a work in which line and ink blend into subtle, pulsating images

From October 2023 to January 2024, the Brasília Art Museum (MAB) hosts the exhibition “The thread that connects”, by the Venezuelan artist based in Lavras (MG) Isabella Despujols. With eight works in medium and large formats, the artist presents a sample of her production in acrylic painting and embroidery in geometric abstractions that flirt with Op Art and kinetic art. Her works are part of private collections and public institutions such as the Inhotim Institute (MG) and the FAMA Museu (SP). The exhibition “The thread that connects” is carried out by Jackie Shor Projects with the support of MAB. Visitation is from Wednesday to Monday, from 10am to 19pm. Entry is free and free for all audiences. The MAB is located in the SHTN, section 1, Projeto Orla, pole 3, lot 5 / Brasília – DF. Instagram @museudeartedebrasilia.

Graduated in Fine Arts from the Miami International University of Art and Design, United States (2014) and Bachelor in Art History from the University of Palermo, Buenos Aires, Argentina (2020), she lived with the works of Latin American masters of kinetic art and Op Art, Venezuelans Carlos Cruz-Diez and Jesús Rafael Soto, his main references in the visual arts. “At university I specifically studied painting. I learned techniques for working with painting in layers, creating color tones based on those I already had”, says the artist who is presenting her production in Brasília for the first time.

“The main focus of my work is the study of the behavior of color in relation to the background color and that of other lines”, says Isabella Despujols. “Geometry has always been my favorite visual language, and kinetic art has always been a very close reference for me to study and create”, highlights the artist.

Curator Cinara Barbosa, who wrote Despujols' presentation text for the exhibition in Brasília, states that the artist connects to her formative experiences to develop her own investigation and technique. “It connects to a reference production in its formation such as Carlos Cruz-Diez and Jesús Rafael Soto, confirming principles that abdicate figurative representation. In search of a subtle and at the same time pulsating plasticity, she mixes painting processes in the background to highlight colors. She creates nuances of relative depth by building games of geometric shapes in her compositions and attributing other visualities to the embroidery tradition,” writes Barbosa.

Regarding the entry of thread and embroidery into his production, Despujols says that thread and embroidery entered his production when he was working on a series of abstractions inspired by fabrics. “I started imitating the fabric line with paint. I just thought the work would be more interesting if I mixed the line. I then started to embroider self-taught along with the use of paint. Then, I realized that with line I could “paint” as if it were paint”, he continues. “The line has enough versatility to work with layers, mix colors, and create optical effects, typical of the kinetic works that I admired so much. Over the years, I have perfected the embroidery technique that I developed myself until arriving at the proposal that I am currently working on and that I hope to continue developing”, he says. Currently, Despujols is developing a series whose main source of inspiration is kineticism and Op Art. “I seek to generate the sensation of movement through colors and the location of lines in the composition”, he adds.

Service
Exposure | The thread that connects
From October 10th to January 31st
Wednesday to Monday, from 10 am to 19 pm

In December, the Art Gallery Reference opens two exhibitions of female artists who work with painting from a perspective on the feminine. In the Main Room, Veridiana Leite presents "Supernova", a collection of liquid and nocturnal landscapes curated by Cristiana Tejo. In the Collection Room, Clarice Gonçalves presents “Repository of Pulses”. They are acrylic and oil paintings on canvas in different formats that either never left the studio or were rarely exhibited, curated by Paulo Vega Jr.

The exhibitions open to the public on December 9th, from 11am to 15pm, with a guided tour of the “Supernova” exhibition. With free entry and free for all audiences, visits are from Monday to Friday, from 10am to 19pm, and Saturday, from 10am to 15pm, until January 20, 2024. The reference is at 202 Norte, Bloco B Loja 11, underground, Brasília-DF. Telephones (61) 3963-3501 and (61) 981-623-111 (WhatsApp). Instagram @referenciagaleria.

Supernova
Paintings
From | Veridiana Leite
Curation | Cristiana Tejo
Main Lounge

“What is there is feeling, intuition. At first there may even be identified images that are like a starting point, but what happens afterwards, I don't control. These landscapes are more sentimental than real, imaginary places of the unconscious. In fact, it's not just about the dreams I'm working on, but about the transformations I'm experiencing, even if sometimes they are magical and sometimes disturbing.”

Clarice Gonçalves

Curator Paulo Vega Jr. states that: “Clarice Gonçalves’ work is and needs to be, at the very least, uncomfortable. The artist, who works on topics that are in vogue today, but since before they emerged as strong and major trends in the arts, does not fall into the seductive trap of illustration or the pedagogization of social issues through artistic production. He emphasizes that Clarice Gonçalves does not produce booklets or pamphlets in the form of works of art. “She produces works of art that are open to interpretation and subjectivity and this is what sustains her production and trajectory.”

In “Repositório de Pulsões”, a title borrowed from one of the artist’s paintings from 2005/2026, Clarice presents works that have in common the fact that they have been little seen or even never presented to the public, whether in individual or collective exhibitions. for the most diverse reasons. “However, they have lived in my studio and my technical reserve for years”, says the artist. “I often find myself returning to topics considered taboo, as their debate continues to be necessary and urgent: Childhood helplessness, absent fatherhood, abuse, obstetric and neonatal violence, reproductive and care work (and internalized misogyny in all these sectors), sexuality and integration into nature are recurring themes throughout my work over almost 20 years of career”, adds Clarice.

They are paintings of different moments and dates, from the beginning, in 2005, 2006 in acrylic on canvas, to more recent works. Some of them have been ready for years without showing them, even virtually. They remained to mature, or rather, waiting for us to mature as a society so that we can exercise the capacity to enjoy them and rethink our existences.

Service
Exhibitions | “Supernova” and “Drive Repository”
From December 09th to January 20th
Monday to Friday, 10am to 19pm, Saturday, 10am to 15pm