(Rio de Janeiro, Brazil)
Luciana Caravello Arte Contemporânea Gallery promotes a guided visit with the artist Bruno Miguel, in his exhibition “Tudo posso naquilo que me fortalece” [I can do all things through that which strengthens me]. The activity happens this Saturday, December 14, from 11am to 1pm.
I can do all things through that which strengthens me
This idea, often associated with religion, contains a vast range of interpretations in the work of Bruno Miguel, ranging from the ironic to the sacred.
“I can do all things through that which strengthens me” leads us to understand that the strength lies in the other, in a relationship that it is impossible to foster alone. Power is established in a relationship, not in either or any of the individual elements that make it up. What matters is the construction of a “between”: between artists and their work, between the message and its reception, between today and tomorrow; but clearly not in a linear manner. These relationships are open, rhizomatic, impossible to understand in terms of beginning, middle and end. Everything is contaminated by everything else and proliferates at the speed of broad-band or virtual relationships. Obsolescence is designed to occur in a short while.
In this world of incessant searching for superficial entertainment, where does painting fit in, given the time it takes to produce it and its historical awareness? As faith! In its capacity to transform the daily welter of disposable images into something greater, something sacred. To some extent the narrowly circumscribed art world has been able to convince the rest of the world. Like a religion. In a time of so many religions, the greatest of them being capitalism and the economy that gobbles up nation-states, politics, social systems, the artist can always drift or swim with or against the tide (many sink). Destruction or consolidation. But to what extent do these attempts spill over from the art world into the real world? I believe that Bruno Miguel’s work is an exercise in ironic conformity. He aspires to the same reach as a pop-video or an advertisement, but with a sophisticated comment on the world thrown in, dolled up as cheap seduction. Miguel has a whole arsenal of pop at his command. Printed T-shirts from the 1980s, graffiti, pop icons, Valentine’s Day cards, vintage US ads and images of products from the former East Germany mingle with wall-tiles and plates, the fruits of our colonial heritage. Everything casually unpretentious and apparently beautiful! But is this is not how images are created these days? Is this not the cool logic of market seduction?
Bruno Miguel may not be aware of it, but, beyond his own rhetoric, his true strength lies in his work. Not in the work in itself, but in the hard slog in the studio, where his restless curiosity ensures that his painting is always undergoing some kind of transformation. Where his compulsions seek out errors that cry out for the easily-available but unpredictable that lurk behind the banal dazzle of facile images. He strives for a kind of peripheral post-pop, always making connections between high and low culture. A vulgar overdone make-up that superficially disguises his unending search for beauty. Not in painting, but in the act of painting.
“Tudo posso naquilo que me fortalece”, with works by Bruno Miguel
December 06 to January 10
Guided visit: December 14, from 11am to 1pm
Monday to Friday from 10am to 7pm
Saturdays from 11am to 2pm
Luciana Caravello Arte Contemporânea – Rua Barão de Jaguaripe, 387
Rio de Janeiro, Brazil, 22421-000
Phone: +55 21 2523-4696 | 2512-9637