(this page was last updated in July 2016)
[pipa2016:81877]
Santo Antônio da Patrulha, Brazil, 1978.
Lives and works in Madrid, Spain.
Represented by Galería Max Estrella, Galeria Marilia Razuk, Instituto de Visión, Sabrina Amrani Gallery, Studio Sandra Recio and Nova Invaliden Galerie.
PIPA 2016 nominee.
Studied at the Contemporary Art Centre Edilson Viriato in Curitiba (Brazil). Solo exhibitions include: “Concrete Movement”, Marilia Razuk, São Paulo, Brazil; “Brutalism”, Galeria Max Estrella, Madrid, Spain (2014); “The Construction of the Icon”, CAAM, Palmas de Gran Canaria (2011) and “Sculptural Potential”, Matadero, Madrid, Spain (2009). Group exhibitions include: “Open Sessions”, The Drawin Center, NY, USA (2015); “Theorem”, Mana Contemporary, NY, USA (2015); 11th Havanna Biennial, Cuba (2012); 11th Cuenca Biennial, Ecuador (2011); 8th Bienal do Mercosul in Porto Alegre, Brazil (2011); and 12th Cairo Biennial, Egypt (2010).
Video produced by Matrioska Filmes exclusively for PIPA 2016:
Brutalism – by Carolina Castro Jorquera
To Marlon de Azambuja, the great architects of the world have not only erected enormous buildings, they have also projected a large cluster of ideologies—in many cases utopian—that were fixed in the collective consciousness models of thinking and living in the world . The possibility of testing this system of fasteners , is the leitmotif of this exhibition. Based on the strength of the convictions of the viewer , the artist intends to make them unstable, almost destroying them, to lift them again. Specifically Brutalism , as its title suggests , is the process of accepting the nature of the materials , to observe in detail and reconsider the urban conditions of human coexistence .
This artist has grown up in a place where there are full-scale utopias , their thinking has been profoundly influenced by Brazilian modernist architecture and even more , by its contrast with the visible at the foot of its buildings precariousness. This dichotomy has led him to consider the purest essence of all construction , the nobility of its materials and the geometry of its forms. Since spontaneous look and review materials such as concrete and brick are holders of integrity and truthfulness that gives them full autonomy . As if in fact the concept that has transformed the idea of art, not the artist came the intellect but to be cast on the matter waiting to be discovered . Thus the strength of the material is facing the ideological tradition of architecture, questioning the limits that the city created by its urban design . The work suggests Azambuja transform civic organizations in an emancipatory project through subtle beauty compulsive actions but undermine the smallest detail of the city to make them visible and what is even more important to make them themselves. His work contains a comprehensive philosophy about the nature of social space and inhabit , producing a strong link between what we have and what we need .
The conditions of use of the city , constantly challenged by this artist , attest to the great importance of the architectural profession in our lives. As he points out : The three stages of the exhibition are city : the first part discusses the architectural thinking of how this fixed ideals and leads citizens to inhabit the city , then ” Brutalism ” notes the constructive elements to make us think about what architecture is , what it is to be an architect , which is building , and finally , in the final room , ” Stability Sea ” speaks of the way we live the city as we experience our way through it, like us appropriated . In this city architect ‘s intentions intersect with the artist, Azambuja quote the words Le Corbusier used to illuminate the present and future citizens about the basics of planning for the city of Chandigarh in India. This decree stipulates that citizens are guardians and protectors of the city, and the veracity of their building materials will be maintained in each building. Soon the large population growth in India largely changed the intentions of Le Corbusier , however it continued to grow and adapt to the cultural needs of its inhabitants, possibly because no utopias arise as fixed ideas and be part of its strength the fragility of always being on the edge of existence.
Browse cities implies an attitude , could establish a genealogy of hikers based on their experiences. In Brutalism , the artist raises an uncomfortable as a stimulant, to remove the solid ground under our feet to make us walk on a loose paving stones on the floor of the gallery are actually a metaphor for the unstable city he perceives and intervenes their Metaesquemas : geometric constellations that appear to float in space. Azambuja puts into circulation a form of criticism by signaling elements, buildings , streets, squares , having a deep emotional connotation and identity , but often do not perceive in his complex sensibility , they are cast before our eyes and the same time imposing and monumental fix their image .
I would say that is a metaphor for the emptiness that paradoxically operates directly within the solid built . The tension between the social value of architecture and modern image projected by the great buildings of the world. And the current city is the apology for that image. Although I can not help but wonder who would have imagined that one day the Twin Towers disappear postcard image of New York? , It is true that once built an architectural icon like that , it’s almost impossible to ignore its existence. And when it is collapsed , recently we realize the weight of their meaning and transcendental value as a witness to our history.
Each transformation of the city , each territorial reorganization, each new building or multiplex mega-market , articulates new forms of relationship or estrangement from the urban scene . Each building that disappears or becomes a rite of passage change modifies our small everyday decisions. Marlon de Azambuja challenges us to be aware of our relationship with the city, claiming the spaces that are ours, we are tempted to intervene them , to experience a new sense of freedom and elasticity irony contributing to what seems fixed and established. Because projected on buildings in the city ideologies can not be ours, but possibly the sum of small actions , modest changes in our environment will allow us to reaffirm our ideals and experience new ways of living together .
Solo Exhibitions
2015
– ‘Pensamientos’, (Thoughts) NoMinimo, Guayaquil, Ecuador
– Sobrevalor’, (Overvalue) Junta espacio de arquitectura, Panama City, Panama
– ‘Sentencias Espaciales’, (Spatial Sentences), Diablo Rosso, Panama City, Panama
2014
– ‘Ordem e Progresso’, (Order and Progress) Walk & Talk Festival, Ponta Delgada, Azores, Portugal
– ‘Movimiento Concreto’, (Concrete Movement) Galería Marilia Razuk, São Paulo, Brazil
– ‘Brutalismo’ (Brutalism), Galería Max Estrella, Madrid, Spain
2013
– ‘Acciones Concretas’ (Concrete Actions), Galería González y González, Santiago, Chile
2012
– ‘Immobile’, Studio Sandra Recio, Geneva, Switzerland
2011
– ‘Nuevos Barrios’ (New Districts), Furini Arte Contemporanea, Rome, Italy
– ‘Gran Fachada’ (Grand Facade), Galería Max Estrella, Madrid, Spain
– ‘Editora Calle’ (Street Press), Galeria Marilia Razuk, São Paulo, Brazil
– ‘La Construcción del Icono’ (Construction of the Icon), Centro Atlántico de Arte Moderno (CAAM), Las Palmas, Spain (curated by Omar-Pascual Castillo)
2010
– ‘A arte favorece a desobiência’ (Art favors disobedience), Ybakatu Gallery, Curitiba, Brazil
– ‘Niveles’ (Levels), Espai Quatro, Casal Solleric, Palma de Mallorca, Spain (curated by Neus Cortés)
2009
– ‘Movimiento Concreto’ (Concrete Movement), Furini Art Contemporanea, Rome, Italy (curated by Antonio Arévalo)
– ‘Potencial Escultórico’ (Sculptural Potential), Matadero, Abierto X Obras, Madrid, Spain
– ‘Projeto Moderno’ (Modern Project), Galeria Luisa Strina, Sao Paulo, Brazil (curated by Adriano Pedrosa)
Group Exhibitions
2015
– ‘Plagiar o Futuro’, (Plagiarizing the Future) Hangar, Lisboa, Portugal (curated by Bruno Leitão, Andrea Rodríguez Novoa)
– ‘Imagine Brazil’ – Artist’s Books, DHC/ART Founation, Montreal, Canada (curated by Jacopo Crivelli Visconti, Ana Luiza Fonseca)
– ‘Happeland’, Radiator Arts/ New York, EUA (curated by Eva Davidova, Almudena Baeza)
– ‘Open Sessions’, Drawing Center, New York, EUA
– ‘Theorem’, Mana Contemporary, Jersey City, USA (curated by Octavio Zaya)
– ‘Contramuro’, (Counter-mure) Galería Instituto de Visión, Bogotá, Colombia (curated by Omayra Alvarado)
– ‘Ejercicios de Traslado’, (Practices on transference) Centro de Arte de Alcobendas, Alcobendas, Spain (curated Osbel Suárez)
– ‘La angustia de casi saber y quedarse no sabiendo’, (The angst of almost knowing but remain ignorant) Galería Diablo Roso, Panama City, Panamá
– ‘Instalations’, Studio Sandra Recio / Geneva, Switzerland
2014
– ‘Cruce de Colecciones’, (Collections Crossroads) Centro Atlántico de Arte Moderno, Las Palmas, Spain
– ‘The Language of Human Consciousness’, Athr Gallery, Jeddah, Saudi Arabia
– ‘Cine Bogart, Imaginar un edificio’, (Bogart Cinema, a building imagined) Centro Centro, Madrid, Spain (curated by Ines Caballero)
– ‘Objects in the mirror are closer than they appear’, Lugar a Dudas, Cali, Colombia (curated by Daniel Silvo)
2013
– ‘La copia de la copia’ (The copy of the copy), Museum of Contemporary Art, Guayaquil, Ecuador (curated by Hernan Pacurucu)
– ‘Cuando el mundo se hace plano’ (When the world becomes flat), Centro de Cultura Contemporánea San Martin, Las Palmas de Gran Canaria, Spain
-‘ Brutalidade Jardim’, Galeria Marilia Razuk / São Paulo, Brazil (curated by Kiki Mazzucchelli)
– ‘Imagine Brazil’ – Artist’s Books, Astrup Fearnley Museet, Oslo, Norway (curated by Jacopo Crivelli Visconti, Ana Luiza)
– ‘On Painting’, CEART – Centro Cultural Tomás y Valiente, Fuenlabrada, Spain (curated by Omar-Pascual Castillo)
– ‘Playtime’, Museo Nacional de Arqueologia Subacuática, Cartagena, Spain
– ‘Gracia Divina’ (Divine Grace), Sala Gasco, Santiago, Chile (curated by Andrea Pacheco)
– ‘Hacer en lo cotidiano’, Sala de Arte Joven de la Comunidad de Madrid, Madrid, Spain (curated by Beatriz Alonso)
– ‘En Obras’ (In the Works), Galería Nuble, Santander, Spain (curated by Iciar Sagarminaga)
– ‘On Painting’, Centro Atlantico de Arte Moderno, Las Palmas de Gran Canaria, Spain (curated by Omar-Pascual Castillo)
– ‘Objects in the mirror are closer than they appear’, Galeria Isabel Hurley, Málaga, Spain (curated by Daniel Silvo)
2012
– ‘Expanded Drawing’, Casal Solleric, Palma de Mallorca, Spain (curated by Pilar Ribal)
– ‘Carnaza para los Dioses’ (Offering to the Gods), CAAM – Centro Atlántico de Arte Moderno, Las Palmas de Gran Canaria, Spain
– 11th Havana Biennial, Havana, Cuba
2011
– 11th Cuenca Biennial, Cuenca, Ecuador
– ‘Inside’, Cidade da Cultura, Santiago de Compostela, Spain (curated by Rafael Doctor)
– ‘New Brazilian Sculptur’e, Caixa Cultural, Rio de Janeiro, Brazil (curated by Alexandre Murucci)
– 8th Mercosul Biennial, Porto Alegre, Brazil
– Bologna Art First, Pinacoteca di Bologna, Bologna, Italy (curated by Julia Draganovic)
2010
– 12th International Cairo Biennale, Cairo, Egypt
– ‘Synergie’s, Museum of Contemporary Art, Union Fenosa (MACUF), La Coruña, Spain (curated by Carlos Jimenez)
– ‘Look Up’, Alfandega, Porto, Portugal (curated by David Barro)
– ‘Kierkegaard’s Walk’, Galeria Marilia Razuk, Sao Paulo, Brazil (curated by Jacopo Crivelli Visconti)
– ‘Synergies’, Museum of IberoAmerican Contemporary Art in Extremadura (MEIAC), Badajoz, Spain (curated by Carlos Jimenez)
– ‘Postgraffiti, Geometry and Abstraction’, Fundación Caixa Galicia, A Coruña, Spain (curated by Javier Abarca)
2009
– ‘Residency 09’, Futura Project, Prague, Czech Republic
– ‘Building, Dwelling, Thinking – Strategies for Contemporary Art and Architecture’, IVAM, Valencia, Spain (curated by Fernando Castro Florez)
Awards & Scholarships / Selection
2010
– Matadero Aid for Mobility, Madrid, Spain – Mexico City, Mexico
2009
– Fundación Arte y Derecho Scholarship, Madrid, Spain
– Matadero Aids for Mobility, Madrid, Spain – Prague, Czech Republic
– Matadero Aids for Creation, Abierto X Obras, Madrid, Spain
2008
– Grant Aid for Creation, Madrid Community, Madrid, Spain
Residential / Special Projects
2015
– Art Dubai (solo Project) Galería Sabrina Amrani, Dubai, Arab Emirates
2014
– Librespacio, Plaza Arcos – NoMinimo Galeria, Guayaquil, Ecuador
2013
– The Drawing Center Viewing Program, New York, NY, USA
– Rodeo, Video projection on building façade, Geneva, Switzerland (curated by Karine Tissot)
– Art Lima (solo project), Galería Marilia Razuk, Lima, Peru (curated by Octavio Zaya)
– Zona Maco (solo project), Galería Max Estrella, Mexico City, Mexico
2012
– Arezzo Wave Love Festival, Arezzo, Italy
– Art Rotterdam (solo project), Furini Arte Contemporanea, Rotterdam, Netherlands
– ARCO Solo Objects, Arco International Art Fair, Madrid, Spain (curated by Manuel Blanco)
2011
– The Noise of Bubbles, Red Bull Music Academy, Matadero,Ma drid, Spain (curated by Javier Duero)
– Pinta Art Fair (solo project), Max Estrella Gallery, London, UK
2010
– Latitud 19º, Interventions in the Plaza Santo Domingo, Mexico City, Mexico
– Volta Uncovered, Volta Art Fair, Furini Gallery, Basel, Switzerland (curated by Amanda Coulson)
– SOS 4.8, Contemporary Art Festival, Murcia, Spain (curated by Fernando Castro Florez)
– Petersburg, HBC, Berlin, Germany
2009
– Futura, International Residential Program, Prague, Czech Republic
Collections
-Museum of Contemporary Art Paraná, Curitiba, Brazil
-Cultural Foundation of Curitiba, Brazil
-OTR Collection, Madrid, Spain
-Explum Collection, Puerto Lumbreras, Spain
-Sabadell Bank, Barcelona, Spain and New York, USA
-Ministry of Culture, Madrid, Spain
-Nomas Foundation, Rome, Italy
-CAAM, Centro Atlántico de Arte Moderno, Las Palmas de Gran Canaria, Spain
-María Cristina Masaveu Peterson Foundation, Asturias, Spain
-Itau Cultural Institute, Brazil
-Helga de Alvear Foundation, Spain
