Brasilia, Brazil, 1981.
Lives and works in Brasilia, Brazil.
PIPA 2016 nominee.
The artist holds a Masters Degree in Visual Arts by the University of Brasília. Between 2013 and 2014, Vignoli worked in a studio and exhibited in Wiesbaden and Berlin, Germany. In 2015, she was contemplated with the Funarte Award for Contemporary Art. The artists uses in her objects, materials such as glass, earth, stone and metal and has been developing a poetics of simple things, “autonomous and utopian”, which connect the archaic with the present, or even confabulate a future. Her works delve into the subjects of time, landscape and architecture.
Video produced by Matrioska Filmes exclusively for PIPA 2016:
“Zeitberg”, Berlin, Germany, 2014. Duration: 01’40”.
Adriana Vignoli creates objects that shift between drawing, sculpture and installation. The artist uses mainly materials such as glass, earth, stone and metal. She has been developing a poetics of simple things, “autonomous and utopian”, which connect the archaic with the present, or even confabulate a future. Her works delve into the subjects of time, landscape, architecture and constructivism. Those are the result of the influence of Brasília, her hometown and where she currently lives.
The artist holds a Masters Degree in Visual Arts in the field of Contemporary Poetics and a Bachelors Degree in Architecture and Urban Design, both by the University of Brasília. Between 2013 and 2014, she worked at an art studio in Berlin, Germany. During that time, her work was shown at the Nassauischer Kunstverein of Wiesbaden, in the Technical Faculty of Visual Arts in Dresden (Hochschule für Bildende Künste Dresden) and at the Pavillion at Milchhof, Berlin. In 2015, she was contemplated with the Funarte Award for Contemporary Art as well as with a FAC (Culture Fund of Distrito Federal) funding for the individual exhibit “Vãos” (gaps), which will take place in Brasília. She has participated in and developed along with other local artists the project of urban intervention Fora do Eixo, which received funding in 2010 from the Funarte Award for Photography Festivals, Performances and Regional Salons and, in 2008, the National Network Visual Arts Funarte Award.
In the words of curator and researcher Maykson Cardoso, analyzing the artist’s work, “things reach us in a flash. In the angle of daily life that robs us of detained attention, things present themselves all of a sudden: minutes, hours, days, months, years after having been seen; they reach us, as if they’d never left: auratic – not so far away, not so distant, halfway through – and reveal a facet we did not know we’d never seen before, even though they leave, always, much more at the shadow so they can do other unveilings, in this game of hide-and-seek that cannot end and which no one can win. Things never stop; they do not lose their voice, ever; they just move to the sidelines, from where they emit small signals waiting for schisms, of a tectonic shifting of thought that can make them rise again and rise against us, interrogate us and accuse us, as rocks in the middle of a path that make us halt and which we can, with some eﬀort, surpass, as long as desire is greater than the fear of inertia.”
Notes on “Landscapes made with Grains of Stones, by Adriana Vignoli”
Written by Maykson Cardoso
Half of an hourglass, a glass ampule – as one calls each of the halves of this ancient apparatus to count the time – is floating, almost; ingeniously hoisted by catheter tubes, it houses a just-detectable red dust as more of it heaps on the ground. At first sight, it is, on one hand, about suspension of time, and, on the other, about its dissolution, that the work “Landscape made with grains of stone”, by Adriana Vignoli talks about; a time which, now contained, has overflowed before and, as such, cannot be counted anymore, having become “wasted time”, irretrievable.
However, upon notice of other layers of meaning evoked there, the whole thing expands and conquers other dimensions; it reveals how much art – the artist – is really capable of causing, pointing out and reverberating certain “holes”; it brings ethics to the surface, once again, alongside aesthetics: the technical information card discloses that the red dust comes from the soil of Brasília, excavated, collected and ground by the artist’s hands. And there cannot be anything more intriguing than excavating, collecting and grinding, even gently, the very land upon which one treads.
In that sense, it is befitting to question whether Adriana Vignoli’s process-focused work wouldn’t be better inscribed in (or endowed with) what Walter Benjamin referred to as “destructive character”: the character of someone that comes across walls or mountains and sees them as a passage; the character of those who manage to turn things to ruins yet “not always with brutality, sometimes with refinement”, never for the ruins themselves, “but because of the path that traverses them”.
The city of Brasília – that arises, in Lucio Costa’s project, as he effigy of an airplane – is, thus, claimed by the artist, who puts her feet and hands into its red earth, inflicting a small schism upon it to unearth material that, once sedimented, will once again become dust, guarded and suspended; however, suspended only to fall again on, and become again, the ground.
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