(Rio de Janeiro, Brazil)
Arjan Martins, avaf, Romy Pocztaruk and Vivian Caccuri. The works of the four PIPA Prize 2018’s finalists are able to be seen from today, September 1st, at the opening of the Finalist’s Exhibition. The exhibition shows a diverse work set to the public – from painting to installation, sound art to photography – composing a small sampling of the diversity of Brazilian contemporary art production. Watch the PIPA Prize 2018 Finalists’ Exhibition making-of video:
PIPA Prize nominee for the sixth time this year, Arjan Martins is a long artistic journey artist that dedicates himself, mainly, to painting. For the exhibition, Arjan presents 3 great scale paintings. Those are canvas that show a visual repertory and an Afro-Brazilian narrative that’s been historically without site of speech or visualization. His counternarrative is told from figures and daily situations, anonymous characters, black bodies and maps which redesign the Afro Atlantic migrations’ geography at colonial times. “In a very explicit way, Arjan’s paintings highlight the colonization and slavery oppression aches – which are still so present in our daily social conflicts – but they do this with a violent exuberance of form, that doesn’t let themselves to domesticate in illustration”, declares Luis Camillo Osorio.
The made-up word that names the collaborative project founded by Eli Subdrack triggers, at least, curiosity: avaf, always written in small letters, is sometimes a collective project, sometimes an individual one, taken by Eli who, in his works, discuss matters such as gender-related ones, identity, liberty, pleasure and authorship. For the exhibition, avaf reunited different works produced between 2004 e 2018 in an installation made especially for the PIPA Prize 2018’s exhibition. “reTRANSpectiva #1″ mixes tapestry, neon, painting, masks, plants, wallpapers, a LED panel, etc, and proposes a remixing of his own work. The installation is penetrated by the transgender’s image, theme/symbol that permeates avaf’s work. The trans person becomes the central strategy in the exhibition, where the artist re-contextualizes different period works in a single place.
The idea of journey is recurrent in Romy Pocztaruk‘s production, who usually gets envolved in long investigative researches. The artist covers distant geographies to register traces from abandoned places which were, some day, faraonic projects. Romy brings the work “Bombrasil” to the exhibition, a photographic and documental investigation about the nuclear arms race unfolding in Brazil during the Cold War. The project, secretly conducted by the Military Regimen between 1960’s and 1980’s decades, used to long for the uranium enrichment technology development and construction of both atomic bomb and submarine at Brazil. That resulted in the construction of the nuclear power plants in Angra dos Reis, in Brazil, place where the artist photographed at. Alongside the photos, Romy also exhibits posters that reproduce headlines about the Brazilian atomic program after the Dictatorship’s ending.
Interested in sound exploring as a way of disorienting and amplifying perception and senses, Vivian Caccuri usually works with sound installation/sculpture. One of the works presented by the artist is “Oratório”, an installation which brings together the bass sound experience to ritual and religious cults. Before a great sound system, Vivian puts lighten up candles which are moved by bass rythms. The soundtrack that makes the flames tremble is based on one of the first written notes to a choir in occidental music history, executed by roman catholic monks.
Chosen by the PIPA Board amongst the 70 artists nominated by the Nominee Committee this year, the four finalists run for the main category of the prize which, worth R$130,000, is chosen by the 2017’s Prize Jury. They also run for the PIPA Prize Popular Vote Exhibition, which awards with R$24,000 the most voted artist by the exhibition visitors at MAM-Rio. To vote, people just need to put their vote in the urn based in the show till September 30th.
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