(São Paulo, Brazil)
Artist Maurício Ianês will be on view with the solo show “Ponto Final” [“Period”] at Galeria Vermelho as of June 3rd.
The research that guides Maurício Ianês‘s artwork aims at questioning verbal and artistic languages, its possibilities and limitations, its political and social roles proposing, in some cases, the audience participation through actions that mean to create an exchange where language and its unfoldings come into play.
However permeated by the cultural context the artist is inserted, Ianês’ work gains universal characteristics through the use of words, suggesting multiple relevant elements, visual and sound, systematized and presented through video, photography, drawing and installation. Of all the elements used in his current research, revealed in the set of artworks that compose “Ponto Final”, the Fraktur typographic family in its current historical role, represents one of the central elements in the exhibition.
Fraktur fonts are the most important exponent in the gothic typo group. In the Netherlands, United Kingdom and mostly Germany, this typographic family prevailed until mid 1900s. Today it is still widely used in tattoos, newspaper names, drink logos, bands and gothic groups.
The font appears in several works in the show in different contexts, such as the ones linked to the building of a people’s national identity, a group’s or a guetto’s, or as a way of segregating and racism. Over the gallery façade, the Tennenbaum font, a part of the Fraktur family, was used to rewrite the sentence “Ordem e Progresso” of the Brazilian flag.
It reappears in the series “Ponto Final”, which the exhibition was named after, consisting of 10 drawings of periods engraved on the exhibition space walls. Comprising 14 low quality image groups from the Internet, “Fratura” series (from German Fraktur) combines, through these images, the present uses of Fraktur to its application in old books and manuscripts and to German Nazi Party advertising strategies and internal communication, between 1930 and 1940.
In “Império” [“Empire”], Ianês quoted Austrian philosopher Ludwig Wittgenstein and built a great wood sculpture that repeats one of the phrases taken by him from “Tractatus logico-philosophicus”, published by Wittgenstein in 1921. In this exhibition’s context, “Die Grenzen meiner Sprache bedeuten die Grenzen meiner Welt” (My language limitations represent my world limitations) suggests that art limitations are narrowed by what is expressed through a languaged, that is, what can be imagined.
As well as Wittgenstein, Ianês adapts elements from Faulkner’s literature, more specifically from the book “The Sound and The Fury”. In it, the artist removed most words from the first page and kept only the words “fence” and “flag”, once again suggesting language limitations.
The main symbol for countries and regions, flags are used by Ianês in several pieces. It’s the case with “(The Sound) and the fury”, where the artist embroidered the words “fence” and “flag” over white flags, or also in “And the fury”, consisting of nine black pennons whose installation recalls fence limits. Also in this solo show are artworks “Wor(L)d”, “Discurso Ltda” [“Speech Ltd”], “Via Negativa” [“Negative Way”], “Broken language”, “Cinzas” [“Ashes”] and “Incisão” [“Incision”].
“Ponto Final”, solo exhibition by Maurício Ianês
From 3rd June to 5th July
Tues-Fri, 10am to 7pm; Sat, 11am to 5pm
Rua Minas Gerais 372, Consolação
55 11 3138.1520