(this page was last updated in April 2023)
Born in Sarandi, Brazil, 1985.
Lives and works in Porto Alegre, Brazil.
PIPA 2020 nominated
Works in the PIPA Institute Collection
Website: https://www.eliasmaroso.art.br/
Video produced by Do Rio Filmes, exclusively for PIPA Prize 2020:
Audiovisual documentation of ‘A Report To An Academy’, 2020, videomapping on building façade. 8’42”
Tutorial Video for ‘Ok/Cancel’, 2020, printed circuit board for cell phone signal jammer. 5’49”. See more at this link.
“ Vídeo Tutorial para “FM Bug””, 2021. Duração 9’48”
Elias Maroso is an artist and researcher born in Sarandi/RS. He has a PhD in Visual Arts from the Federal University of Rio Grande do Sul, with emphasis on Languages and Contexts of Creation. He dedicates himself to the production of objects, interventions in space and energetic devices, relating different media and study references. Founding member of the project Hinge Room, for which he participated in the 7th and 8th Bienal do Mercosul, producing together with this initiative exhibitions with artists from Brazil and abroad. In his recent performance (2019-2020), he made works at Druckwerkstatt, Kunst Quartier Bethanien (Berlin/Germany), via Goethe-Institut, and for the Alliance Française Award of Contemporary Art, besides being nominated for the PIPA Award of Contemporary Art (Year 11), being a finalist in the modality PIPA Online Award 2020. In 2021, he develops works for the CoMciência Program of MM Gerdau and joins the roster of artists of the 13th Mercosul Biennial. Has works in the collection of the PIPA Institute, RJ (Displacements Collection).
Publications
– MAROSO, Elias. Circuitos de Entrada e de Saída: por uma poética do atravessamento. Tese de Doutorado em Artes Visuais, Universidade Federal do Rio Grande do Sul, 2021.
– MARQUÉZ-ELUL, Fercho. A obra-pensamento de Elias Maroso como scattered objects: corrosão, pulsação e dispersão. In: MAROSO, Elias. Circuitos de Entrada e de Saída: por uma poética do atravessamento. Tese (Doutorado em Artes Visuais). Universidade Federal do Rio Grande do Sul, 2020.
– MAROSO, Elias. Texto Prático. Revista Ensaia [ISSN 2447-7729], n.4, vol. 5. Rio de Janeiro, 2018.
– MAROSO, Elias. 88.8: quando atravessei uma ou duas paredes. Texto não indexado. Porto Alegre, RS. Junho de 2018.
– MAROSO, Elias. Contágio, Torção e Dobra: ações pela rua e na sala de exposição. Anais do 26º Encontro da Associação Nacional de Pesquisadores em Artes Plásticas. Campinas, SP: ANPAP, 2017.
– MAROSO, Elias. Planos de Ação: sobre a poiética e a cartografia. Anais do 24º Encontro da Associação Nacional de Pesquisadores em Artes Plásticas. Santa Maria, RS: ANPAP, 2014.
– MAROSO, Elias. Contágios Poéticos no Espaço: por ações no contexto urbano. Dissertação de Mestrado em Artes Visuais, Universidade Federal de Santa Maria, 2014.
– MAROSO, Elias. Sobre Projetos de Arte Impregnadas de Urbano. Anais do 12º Encontro Internacional de Arte e Tecnologia. Brasília, DF: #12.art, 2013.
– MAROSO, Elias. Transduções Poéticas: a individuação no processo criativo da arte. Anais do VI Seminário Nacional de Pesquisa em Arte e Cultura Visual. Goiânia, GO: UFG/Núcleo Editorial FAV, 2013.
– MAROSO, Elias. Do Confinamento Disciplinar à Crítica Instituinte na Arte. Anais do 22º Encontro da Associação Nacional de Pesquisadores em Artes Plásticas. Belém, PA: ANPAP, 2013.
– MAROSO, Elias. Sala Dobradiça e o Espaço Recombinante. Diário de Santa Maria. Segundo Caderno, Seção Idéias. Santa Maria/RS, p. 10 – 11, 01 out. 2011.
‘When a place does not allow the outside air to circulate with the inside air, there comes the need to find an entrance that is also an exit. If none of them are in sight, I try to poetically find crossing portals, interferences and encoding processes. I let myself loose, counting on my luck and feeling the air changes. The notion of space is no longer one only and it varies into different atmospheres. Giving place to an art that fits not only in one space.
Without restrictions of medias or research sources, I produce graphic essays, electrical diagrams, urban interventions, indoor signs, voluminous shapes and energetic pulses that can pass through one or two walls. Just because I do not want to stay in only one place, I draw myself to things that, directly or indirectly, involve circulatory and crossing dynamics, which may be artistic, philosophical or scientific. Before considered a disciplinary and isolated field of knowledge, art is comprehended as a force that moves language and affects reality’.
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