(this page was last updated in July 2017)
Rio de Janeiro, Brazil, 1976.
Lives and works in Paris, France.
PIPA 2015 and 2017 nominee.
Her work is focused on research regarding the links between images and words. She has published two books through Editora 7 Letras: Malhada Vermelha (2011), which was part of her exhibition “Memória/Esquecimento”, and autorretrato (2013).
Video produced by Do Rio Filmes exclusively for PIPA 2017:
“Em todo lugar, menos aqui”. Length: 2’37”
“Urubu”. Length: 3’21”
“Diário”. Length: 11’27”
“Desaparecidos”. Length: 3’27”
“Aphanés”. Length: 2’07”
“Auto Retrato – cozinha”. Length: 10’35”
“Diário”. Length: 1’43”
“amoramerica”, 2008. Length: 9’06”
“Pentimento”, 2007. Length: 4,23″
“Gás”, 2007. Length: 3’02”
Raïssa de Góes has participated in collective exhibitions such as “Cadernos do Corpo” (Notebooks of the Body) and “Da Escrita Delas” (Of the Female Writing), and has held individual exhibitions: “Honorato”, at CEDIM, and “Memória/Esquecimento” (Memory/Oblivion), at Espaço Cultural Sérgio Porto.
The artist’s work is focused on the research among images and words. She has published three books by 7Letras: “Malhada Vermelha” (Spotted Red), in 2011, which was part of the “Memória/Esquecimento” exhibition, “autorretrato” (self-portrait), in 2013, and “Volta” (Coming Back), 2015. She has also published “algumas ideias de uma pequena criatura” (a few ideas of a small creature), digitally, through Zazie Edições.
Currently enrolled in a doctorate degree program of Literature, Culture and Contemporary Studies at PUC – Rio de Janeiro, Brazil.
She has studied with Charles Watson, Daniel Senise and Marco Veloso, among others, at the EAV of Parque Lage, in Rio de Janeiro, Brazil.
-“Honorato”, at CEDIM, Rio de Janeiro, Brazil.
“Memória/Esquecimento”, at Espaço Cultural Sergio Porto, Rio de Janeiro, Brazil.
-“Da Escrita Delas”, curated by Fabiana de Moraes and Isabel Sanson Portela, Rio de Janeiro, Brazil.
-“Tocayo”, Rio de Janeiro, Brazil.
-“V.E.R.”, Rio de Janeiro, Brazil.
-“Posição 2004”, Rio de Janeiro, Brazil.
Text by Raïssa de Góes
Perhaps it would have been more correct or conventional to write this text in the third person, or even to ask some art critic to write it. But that’s not what happened. It, the text, will come out in the first person. There is no problem. You and I, the readers, we both know that the first person does not mean exactly “myself”. We know that, right? The hand that writes is already an extension to the outside, to the other, maybe not entirely another, but no longer “I”. Yes, “I” in quotes, a little scratched. Between us, the one who writes and the one who reads, there is, therefore, a third one, neither the person nor the narrative voice, but the text, the trace.
It is at this point, between the trace and the text, where I try to stay in order to produce. Thus, perhaps what I am writing here might just be another dimension of the work and not a descriptive text. Creatures, strange drawings, self-portraits, oblivion… they are all part of the universe I try to create with my work. These are questions that keep me company. The writing and the images are built inside me, in this universe, as if they still were a small and alone, talking to no one.
The project to which I am currently dedicated is about oblivion. The chronology of how it was conceived and how it is developed is a bit twisted. It started with the work Diário (Journal), in which I used typewriter correction tapes in order to extract the letters of an edition of writer Katherine Mansfield’s diary. I believed I was making an intervention and creating an object that spoke about memory. However, during that process, as I looked at the pages of the book with its marks and displaced letters, I noticed I was dealing with a work about oblivion. In face of that discovery, I remembered some images I had seen in the past and realized that they too were forms of oblivion. Like, for example, the stains on the walls in places where pictures used to be or the human shadows which remain in the streets of Hiroshima so long after the bomb.
I continued to inhabit this idea and began creating other supports where oblivion would pulsate as a mark and not as a blank page. What has been forgotten remains as a writing of flaws and stains, an absence that remains in silence.
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