"Grifos de Saída", 2019, installation, screen printing on paper, fifteen pieces in chemical copper corrosion, acrylic cuts, neodymium magnets, electrical wiring, dimensions 158 cm x 80 cm x 10 cm

New acquisitions: check out two more works by Elias Maroso that are now part of the Institute collection

PIPA Institute maintains its mission to create and share a representative collection of contemporary art produced in Brazil. Since 2010, works by artists who have already participated in PIPA Prize are acquired, while finalist artists and the winners of PIPA Online have donated artworks for the collection until the edition of 2020. This year, we had the pleasure to announce acquisitions from 5 artists + an artists duo: Ana Frango Elétrico, who entered the collection with 3 patterns and a painting; Eduardo Berliner, who now has 5 more paintings in the collection; Ilê Sartuzi joined the collection with 3 videos and an installation; 3 paintings by Maxwell Alexandre, from the Brown is Paper series, were acquired, forming a set with the artwork that he, as one of the winners of 2020, donated for the collection; 7 photographs by Romy Pocztaruk, PIPA 2018 finalist; and the work “De noite penso no dia, de dia penso na noite / 夜はを思い、は夜を思 う (Yoru ha hiru wo omoi, hiru ha yoru wo omou)”, commissioned and acquired from Yukie Hori + Inês Bonduki.

Now, we announce two more works that were included in the collection: “Diagrama 88.8” and “Grifos de Saída” by Elias Maroso, who was already part of the Displacement collection with the works “Ok/Cancel” and “Criptocromo”.

Check out more about the new acquired pieces below:

  • Diagrama 88.8

Radio transmission is a resource of interest in Elias’ artistic practice, for it is a way of going through physical limits of the space with electromagnetic waves, as explained by the artist. The wall is not an obstacle for the radio waves. They simply cross the concrete and can go from one place to another depending on the energy of their impulse.

Whenever he exhibits the artisanal prototypes of transmitters, a sound content is introduced in the perimeter of the exhibition, whether it is a continuous noise, a textual message or an audio report describing the exhibition itself that is emitting the sound content into the range of 88.8 FM frequency. Within the FM transmission spectrum, the choice for the 88.8 frequency band is due to a reference to the infinity symbol or to the Moebius strip arranged vertically. A way is prepared for a radio in between, without beginning or end. The idea of ​​going through the walls of the artistic exhibition is based on the thought that art does not need to be understood only as a disciplinary field of knowledge closed around itself, but also as a transformative and living dynamic of language.

The 88.8 transmitters are presented together with complementary pieces connected to each other through enameled copper wires, forming an electronic installation connected to the energy network of the exhibiting space. Two parts that make up the Diagrama para Transmissor 88 are object-drawings made on a thin chemically corroded copper plate. The pieces reference to the drawings of the British physician and mathematician James Maxwell (1831-1879) found in his A Treatise on Electricity and Magnetism from 1873. From the force lines presented in this book, Elias produced two object-drawings as two suggestions of a crack, taking in advantage the magnetic field lines as a compositional basis.

“Diagrama 88.8”, 2019, installation consisting of prototypes of FM radio transmitters, laser acrylic cuts, photocorroded brass and copper sheets, copper wires, screws and LED lamps, dimensions of 167 cm (height) x 152 cm (width) x 12 cm (depth)

  • Grifos de Saída

The centerpiece of the work is two pages of text screen-printed on paper and presented with an exclusive typography. The text consists of the short story by Franz Kafka entitled “A Report to an Academy”, from 1919, which tells the story of a caged monkey who, in his desire to find a way out, ends up transforming himself into a civilized European.

Compressed into just two pages, the typography, created by the artist, makes the story look like a uniform mesh of signs, like codes to be deciphered. From this text mesh, “bright griffins” come out whenever the word exit appears. In total there are 15 exit words connected to each other. The griffins are made of chemically corroded copper, acrylic and internal leds, these being the elements that keep the text stable on an mdf board through neodymium magnets.
On the wall, next to the serigraphic print, there is a luminous sign, like an exit sign, twisted on itself and another light box in the lower right corner, showing the design of all the letters of the typography that was used.

This work is part of the doctoral research Circuitos de Entrada e de Saída: por uma poética do atravessamento  [Entrance and Exit Circuits: for a poetics of crossing], carried out by the Postgraduate Program in Visual Arts at UFRGS, with an emphasis on Visual Poetics, research line Linguagens e Contextos de Criação [Languages ​​and Contexts of Creation]. The study consisted of the development of a creative process and theoretical reflection regarding the spatial crossing and the formative transits between the exterior and interior, both of exhibiting spaces and of the artistic discipline itself. Under the guidance of Maria Ivone dos Santos, the investigation covered the period from 2016 to 2020, being financed by the Coordenação de Aperfeiçoamento de Pessoal de Nível Superior [Coordination for the Improvement of Higher Education Personnel] (Capes / Federal Government / Brazil).

“Grifos de Saída”, 2019, installation, screen printing on paper, fifteen pieces in chemical copper corrosion, acrylic cuts, neodymium magnets, electrical wiring, dimensions 158 cm x 80 cm x 10 cm

If you’d like to check out the other works acquired by Elias Maroso, click here.

To visit the PIPA Institute collection, click here.

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