(this page was last updated in July 2016)
[pipa2016:81599]
Porto Alegre, Brazil, 1974.
Lives and works in Porto Alegre, Brazil.
Represented by AURA and Manoel Macedo.
PIPA 2016 nominee.
In 2000, completed his Bachelor Degree in Visual Arts/Painting at the Institute of Arts, UFRG. In 2007, begins his Masters in Visual Poetics in the Post-Graduate programme at the same Institute finishing the programme in 2008.
In 2012, has the solo exhibition ‘Nervos de Aco from the series ‘Desenhos_Fliperama’ at Manoel Macedo Galeria de Arte, Belo Horizonte, Brazil. In 2013, participates in the exhibition ‘Sem Fronteiras’, at the Museum Bispo do Rosario, Rio de Janeiro, Brazil.
In 2014, participates in the Cultural Week of Rio Grande do Sul in Uruguay/ ‘SUL SUR 2014’, at the EAC- Espacio de Arte Contemporáneo in Montevideo, Uruguay, with the multimedia edition of ‘Autacom’ in partnership with Leo Felipe.
In June of the same year, participates in the group show ‘Volupia Construtiva – Prazer e Ordenamento em Desenho sobre Papel from the archive of MACRS’, Porto Alegre, curated by Eduardo Veras and in the project ‘Um Firme e Vibrante Nao’ curated by Jorge Bucksdricker and Leo Felipe, at the Ecarta Foundation, Porto Alegre, Brazil.
In 2015, signs off the scenography for the spectacle ‘Cadarço de Sapato ou Ninguém está Acima da Redenção’ inspired in the life and work of Sarah Kane, at the Company Teatrofídico in Porto Alegre, and in the scenography ‘PULP’, traditional party that takes place at the Ocidente Bar for the past 12 years. In August inaugurates the solo show ‘O Gabinete Autæikon’ at the ESPM Cultural Space in Porto Alegre, Brazil.
In the end of the same year, wins the award ‘Açorianos of Visual Arts’ and the ‘Açorianos of Scenic Arts’ with the exhibition ‘O Gabinete Autæikon’ and for the scenography of ‘Cadarço de Sapato ou Ninguém está Acima da Redenção’, respectively.
About the works:
‘Apócrifo’
Initiated in 2001, ‘Apócrifo’, is composed of posters reproducing the portraits of people – black and white constructed images printed with no identification and inserted in an urban landscape. The presentation of ‘Aprócrifo’ must occur in a level of integration given the context of a metropolises, not giving too much evidence to the portrait but also not obscuring it completely. In a way in which the images, in their relation to space and people, function as a psychological mirror. The portraits are purposefully printed with an open photographic granulation, compromising the perception of the image of the face as you move closer towards the poster.
‘Vidro’
‘Vidro’ began in 2002, structures through appropriated images of cinema, television, printed media, internet, people that I know and even from other artists. They are printed and glued on a transparent laminated glass. The glass is then perforated with nails when fixated on the wall, causing the image to instantly become distorted. The works are installed in various places; bars, houses, museums, galleries, etc in order to potentialise the clash provoked by the combination of fracture + image. It is an object which deteriorates easily given its fragile constitution. Paradoxically, it doesn’t extinguish, it can be re-made several times, without the loss of its original characteristics. It can be expanded or shortened, change the quality of the materials or printing but it will essentially be the same. Even though what determines its presence in the world, its relationship with other things, its eventual relevance and even the possibility of configuring itself as art or not, is the way is which this information is processed by the human mind.
‘Fliperama’
The ‘Fliperama’ series consists in digital collage (stop motion) of ordinary photographic records of the artist with images appropriated from diverse sources, as if they were remixed and exhibited in the context of a party. The video is always updated with new collages. Similar to a DJ, Moreira operates in a human ephemeral grouping situation, loud and affected by sensory stimuli. ‘Fliperama’ has been exhibited in Porto Alegre, Belo Horizonte (Brazil) and Montevideo (Uruguay).
‘Manifesto™’
Is a an observation about the commercialisation, de-characterization/ reconfiguration of the revolutionary idealism, common amongst the social, political and artistic vanguards of the XX century. I appropriate every kind of image which is a reference to the artistic production or sort of engaged since the beginning of the XX century – primarily those linked to artistic movements and manifestations – I transform the prints of shirts in order for them to be commercialised. What interests me is the intersection between ideology which is expressed in the image and product the shirt represents.
‘Desenhos_Fliperama’
Initiated in 2011, the series derived from an ongoing project ‘Fliperama’ 2005. I utilise stills from ‘Fliperama’ as a reference for exercises inspired in the automatism in the Surrealists practice, associated to the formal solution of a drawing with classic characteristics of representation, even if the product of this practice is, sometimes, a reproduction. The projection of the image directly on the paper, creates adequate conditions for automatism – as far as the drawing from observation is substituted by spontaneous graphics – where the visual reference for the execution of the drawing is the projected light and not the image.
‘Autacom’
Resulted from the necessity to emphasize a certain self-destructive circulation, which was present in my creative process in 2013 and is adapted into ‘Autacom’. From a prosaic perspective, ‘Autocam’ is merely a rearrangement of parts of one or more works, elaborated and inspired by the precepts of a collaborative construction. From the selection of elements which will be recombined until the nature of the presentation of the result of the parts.
‘O Gabinete Autæikon’
It is the first public presentation of the cabinet of curiosities dedicated to the meta-reality of ‘Autæikon’. The cabinet is built from an allegorical construction about auto image. ‘Autæikon’ is the corruption of ‘Autacom’, that for its turn also fits as the avatar of Alexandre Navarro Moreira.
‘Alexandre Navarro Moreira: Apócrifo’- 30th São Paulo Biennial, Duration: ”02’45
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In 2000, completes his Bachelor Degree in Visual Arts/Painting at the Institute of Arts, UFRG. In 2007, begins his Masters in Visual Poetics in the Post-Graduate programme at the Institute of Arts, UFRG, finishing the programme in 2008.
Ongoing projects include: ‘Apócrifo’ initiated in 2001, ‘Vidro’ initiated in 2002, ‘Fliperama’ initiated in 2005 and ‘Manifesto™’ initiated in 2006.
In 2007, during the programme of promotion of the visual arts, carried out by FUNARTE through MINC, sponsored by PETROBRAS – Visual Arts Connection – participates as a guest a from the artistic residence project ‘Lomba Alta’. In 2008 participates in the audiovisual project ‘Dois Vazios’ by André Severo, Ismael Portela, Marcelo Coutinho and Paula Krause as a part of the project Art and Patrimony/MINC. In the same year participates in the performance of a film/book ‘Soma’, integral part of the project ‘Areal’ by André Severo and Maria Helena Bernardes – contemplated in the publishing notice Rede Nacional de Artes Visuais da Furnate in 2009.
Also in 2009, integrates the cast of ‘Arranco’ by André Severo, in the educational residency programme of the 7th Mercosul Biennial/ Available Artists. At the end of 2011, initiates the series ‘Desenhos_Fliperama’ based on Fliperama stills.
In 2012 is invited to participate in the 30th São Paulo Biennial ‘A Iminência das Poéticas’, which took place between September and November of the same year, also participated in the travelling event of the Biennial presented at SESC Campinas between April and June, 2013.
In September, 2012, has a solo exhibition ‘Nervos de Aco from the series ‘Desenhos_Fliperama’ at Manoel Macedo Galeria de Arte, Belo Horizonte.
In April 2013, participates in the exhibition ‘Sem Fronteiras’, at the Museum Bispo do Rosario, Rio de Janeiro. In May, 2014, participates in the Cultural Week of Rio Grande do Sul in Uruguay/ ‘SUL SUR 2014’, at the EAC- Espacio de Arte Contemporaneo in Montevideo – Uruguay – with the multimedia edition of ‘Autacom’ in partnership with Leo Felipe.
In June participates in the group show ‘Volupia Construtiva – Prazer e Ordenamento em Desenho sobre Papel’ from the archive of MACRS, Porto Alegre, curated by Eduardo Veras. In December participated in a project ‘Um Firme e Vibrante Nao’ curated by Jorge Bucksdricker and Leo Felipe, at the Ecarta Foundation, Porto Alegre.
In January 2015, signs off the scenography for the spectacle ‘Cadarço de Sapato ou Ninguém está Acima da Redenção’ inspired in the life and work of Sarah Kane, at the Company Teatrofídico in Porto Alegre, and in March, the scenography PULP, traditional party that takes place at the Ocidente Bar for the past 12 years.
In August inaugurates the solo show ‘O Gabinete Autæikon’ at the ESPM Cultural Space in Porto Alegre. In the end of the same year, wins the award ‘Açorianos of Visual Arts’ and the ‘Açorianos of Scenic Arts’ with the exhibition ‘O Gabinete Autæikon’ and for the scenography of ‘Cadarço de Sapato ou Ninguém está Acima da Redenção’, respectively.
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