Rio de Janeiro, Brazil, 1978.
Lives and works in Rio de Janeiro, Brazil.
Represented by Casa Triângulo.
PIPA Prize 2011 Finalist.
PIPA Prize 2010, 2014 and 2018 nominee.
Berliner’s paintings can be seen in renowned public and private collections worldwide, including: Daros Latinamerica AG (Zurich, Switzerland), Museum of Modern Art of Rio de Janeiro (Brazil), Saatchi Gallery (London, UK), Patricia Phelps de Cisneros (New York, USA), Bob and Renee Drake (Wassenaar, Netherlands), and Pinacoteca de São Paulo (Brazil).
Video produced by Matrioska Filmes exclusively for PIPA 2011:
Osei Bonsu, 2014-
“Eduardo Berliner had originally resisted using oil on canvas because of its weighted tradition, loaded with social, political and cultural associations. Eventually he came to recognise that the medium’s resilience lay in a unique temporality, unlike the uninterrupted flow of photographic images that populate the modern world. Berliner utilises this tension between painting and the image to question the authenticity of memory and direct experience. The artist’s primordial relationship to the physical world alters his perceptions of daily surroundings, allowing his paintings to become manifestations of tacit assumptions and misunderstandings. Berliner’s humanistic renderings of living things, scenes from the natural world, plant forms, animals and people, revealed shared relationships contingent on unlikely occurrences. They attest to the slippage between invention and memory, between indifference and trauma”.
“Dysfunction”, text by Daniela Labra-
These paintings’s chromatic palette can, because of their coldness, be quite deceitful. The situations, portrayed in sober tones, seem to depict apparently banal and uncomplicated subjects, and confuse the interpretation of the viewer. Pilled-up chairs, the reverse of a banner, a cup-cum-puddle, an upturned trolley. Escaping from convoluted poetics, these and other compositions are disturbing due to their economy of elements, which, paradoxically, does not collaborate towards a discursive clarity, for it raises an enigma that take as its starting point a presumed thematic obviousness.
One of the big questions for the contemporary art piece is the possibility of it not being confined to itself, assimilating references from the world into its own objectual nature, making its surroundings part of the piece, giving it meaning. Thus, a painting’s represented image, for instance, is the starting point for a reflection that lies beyond the icon. For sure, this intellectual procedure has been around ever since the Renaissance, however, what we observe today is the chance for the art piece to exist even without materiality or visuality, being able to erect itself through the understanding of its context, whether expressed or not, in the authorial discourse.
Despite not following in the direction of elaborating an entirely immaterial piece, Berliner’s paintings are charged with conceptual data and surprise with their reflection of the human mirrored in the artifacts and absurd surroundings portrayed, which, aseptic in their majority, prove the existence of the human animal in the world. In the text hidden beneath the surface of these images, the artist, despite being less acidic, does not criticize mores or make any moral or value judgement, nor does he weave any manner of interpretations of Pop culture or of the contemporary world that creates it.
Nevertheless, the grand motto of Berliner’s pictorial work is painting itself, with its making, procedures and the visual and narrative possibilities to be reached in this most traditional of media – keeping himself constantly open to new stylistic endeavors. In this movement, his muted, slightly gloomy palette, goes back to foggy sunsets and creates a thunderous silence. The objects represented in this opaque color scheme prove themselves to be, in their turn, honest in composition, but are, in fact, dysfunctional in relation to their context: nothing works in its proper place.
It is noteworthy that the depicted situations suggest a static temporality which, rather curiously, resides in the human and not in the object. For the time of man, despite being dynamic, remains the eternal prisoner of the present instant, thus watertight, in the manner in which the inanimate objects of these paintings show themselves to be. Such a feature raises the absurd thematics of the scenes, and the volume of the thunderous silence which embraces them, even higher.
In relation to Berliner’s process, this new series marks another step in his pictorial work, previously marked by an angry process of making and the juxtaposition of various elements and techniques. Another important component was the materiality of the oil paint, applied in thick layers. In the present moment, however, the homogeneous surface is more highly valued, while the ample areas of color give form and volume to the object, making the outlining that turned the canvas into a sketchbook dispensable. This new way of applying paint is, nevertheless, concerned not only with the composition’s imagetic and thematic reference points, but also with the conscious desire of exploring new challenges in the troublesome task of going back to painting in order to be able to reach the world.
– Dynamic Encounters/ Debates over art’s videos , Prof. Charles Watson
– Procedência e propriedade [“Provenance and property”] / Drawing Course, Prof. Charles Watson
– Pontifícia Universidade Católica do Rio de Janeiro – PUC/RJ, Degree in Industrial Design / Visual Communication
– Study group ministered by Professor Charles Watson – University of Reading, UK – Master of Typography
–“A Presença da Ausência”, Foundation Eva Klabin, Rio de Janeiro, Brazil.
-“Pinturas”, curated by Hans-Michael Herzog, Casa Daros, Rio de Janeiro, Brazil.
-“Sala A Contemporânea”, Cultural Centre Bank of Brazil, Rio de Janeiro, Brazil.
-Gallery Triangulo, São Paulo, Brazil.
-Gallery Durex, Rio de Janeiro, Brazil.
-Gallery Laura Marsiaj/Annex, Rio de Janeiro, Brazil.
-“Dark Mirror. Lateinamerikanische Kunst Seit 1968”, Kunstmuseum Wolfsburg, Germany.
-“E se quebrarem as lentes empoeiradas?”, Institute Tomie Ohtake, São Paulo, Brazil.
-“Pangaea II: New Art from Africa and Latin America”, Saatchi Gallery, London, UK.
-“Guillermo Kuitca + Eduardo Berliner – Paintings”, Casa Daros, Rio de Janeiro, Brazil.
-“Casa Triângulo no Pivô”, São Paulo, Brazil.
-Art Basel, Miami, USA.
-30th Biennial of São Paulo: “A iminência das poéticas”, Brazil.
-“Convivendo com arte: Nova pintura”, Exhibition Centre Torre Santander, São Paulo, Brazil.
-ArtRio, Rio de Janeiro, Brazil.
-PIPA Prize: “PIPA 2011, mostra dos Finalistas”, Museum of Modern Art of Rio de Janeiro, Brazil.
-“6th VentoSul”, Biennial of Curitiba, Brazil.
-“Os Dez Primeiros Anos”, Institute Tomie Ohtake, São Paulo, Brazil.
-“Caos e Efeito”, Itaú Cultural, São Paulo, Brazil.
-“Orquestra Equestre de Libertação”, performance, Projeto Multiplicidade, Oi Futuro, Rio de Janeiro, Brazil.
-Prize CNI-Sesi Marcantonio Vilaça, Museum of Contemporary Art of the University of São Paulo, Brazil.
-Prize CNI-Sesi Marcantonio Vilaça, Museum of Modern Art of Rio de Janeiro, Brazil.
-“Investigações Pictóricas”, curated by Daniela Labra, Museum of Contemporary Art of Niterói, Brazil.
-“The Portrait Show”, Gallery Durex, Rio de Janeiro, Brazil.
-15th Salon of Bahia, Salvador, Brazil.
-30th Salon of Art Ribeirão Preto, Brazil.
-“Dobra”, Centre of Contemporary Art of Ferme du Buisson, Paris, France.
-“Posição 2004”, Parque Lage, Rio de Janeiro, Brazil.
-“Rio Trajetórias”, Funarte, Rio de Janeiro, Brazil.
-CNI-Sesi Marcantonio Vilaça, Brazil.
-Daros Latinamerica AG, Zurich, Switzerland.
-Collection Gilberto Chateaubriand, Museum of Modern Art of Rio de Janeiro, Brazil.
-Collection Banco Itaú, São Paulo, Brazil.
-Museum of Modern Art of São Paulo, Brazil.
-Museum of Art of Rio de Janeiro, Brazil.
-Pinacoteca of São Paulo, Brazil.
-The Saatchi Gallery, London, UK.
-Bob and Renee Drake, Wassenaar, Netherlands.
-Patricia Phelps de Cisneros, New York, USA.
-Estrellita B. Brodsky, New York, USA.
Video produced by Matrioska Filmes exclusively for PIPA 2010:
Video produced by Matrioska Filmes exclusively for PIPA 2010: