(this page was last updated in August 2020)
Três Lagoas, Brazil, 1952.
Lives and works in Brasília, Brazil.
Represented by Referência Galeria de Arte and Andrea Rehder Arte Contemporânea
PIPA Prize 2020 nominee.
Ralph Tadeu Gehre was born in Três Lagoas, Mato Grosso do Sul, Brazil, in 1952. He lives and works in Brasília since 1962, starting his career as an artist in 1980. He has studied Architecture and Urbanism and Drawing and Plastics at UnB from 1972 to 1980. His works include painting, graphic media, drawing and photography, searching the relation of images and the words, dealing with the reading process, the problems of color and the body the of paintings and the questions of composition.
Website: instagram.com/ralphtadeugehre
Video produced by Do Rio Filmes, exclusively for PIPA Prize 2020:
Solo exhibitions (selected)
2019
– “Jogo de Simples”, Referência Galeria, Brasília, Brazil
– “Breves”, galeria Andrea Rehder Arte Contemporânea, Brazil
2016
– “Recluso e Oficinas Verso”, Museu Correios, Brasília, Brazil
2015
– “coisas impossíveis são possíveis”, curated by Renato Lins, Referência Galeria, Brasília, Brazil
2014
– “o que faço quando não estou fazendo nada”, launching of the book “Caderneta”, Alfinete Galeria, Brasília, Brazil
2012
– “Grite o quanto quiser, ninguém poderá ouvi-lo”, Referência Galeria, Brasília-DF, Brazil
Group exhibitions (selected)
2019
– Represented at SP-Arte by Referência Galeria and Andrea Rehder Arte Contemporânea, Brazil
2018
– “Possíveis geometrias”, curated by Wagner Barja at Museu da República, Brasília, Brazil
– “ondeandaaonda” at Espaço Cultural 508 Sul, Brasília, Brazil
– “ATHOS 100 ANOS – Rastros de Athos”, curated by Marília Panitz Silveira and André Severo at CCBB Brasília, Belo Horizonte, São Paulo and Rio de Janeiro, Brazil
– Represented at SP-Arte by Referência Galeria, Brazil
2017
– Represented at SP-Arte by Referência Galeria, Brazil
2016
– “Ao amor do público – acervo”, curated by Paulo Herkenhoff at MAR Museu de Arte do Rio, Brazil
– “Conversa”, with Rodrigo Cruz and Renato Lins at Referência Galeria, Brasília, Brazil
– Represented at SP-Arte and ArtRio, RJ by Referência Galeria, Brazil
2015
– “Vértice – coleção Sérgio Carvalho”, curated by Marília Panitz, at Museu dos Correios, Brasília, Rio de Janeiro and São Paulo, Brazil
– Represented at SP Arte and ArtRio by Referência Galeria, Brazil
2014
– Represented at SP Arte and ArtRio by Referência Galeria, Brazil
– “Na superfície das páginas”, curated by Júlio Martins, Galeria TCU Brasília, Brazil
– “Múltiplos”, at Alfinete Galeria, Brasília, Brazil
– “Coleções”, curated by Wagner Barja at Museu da República, Brasília, Brazil
2013/14
– “Triangulações”, curated by Alejandra Muñoz and Marília Panitz Silveira, Brasília, Bahia and Pernambuco, Brazil
2013
– “OBRANOME”, curated by Wagner Barja at the Alcobaça convent, Portugal
– “Nossa exposição de desenhos”, curated by Polyanna Morgana at Casa de Cultura da América Latina, Brasília, Brazil
2012
– “1922 – A semana sísmica”, curated by Wagner Barja at Museu dos Correios, Brasília, Brazil
2011/12
– “Llenguatge codificat”, Paradigmas Galeria, Barcelona, Spain
2010
– “Brasília Síntese das Artes” curated by Denise Mattar at CCBB, Brasília, Brazil
– “Brasília Prazer de Pintura”, curated by Bené Fontelles at Funarte Brasília, Brazil
– “Arquivo Brasília”, curated by Renata Azambuja at Galeria Marcantonio Villaça, TCU, Brasília, Brazil
Public collections
– MAR – Museu de Arte do Rio, Brazil
– MUN – Museu Nacional da República e MAB – Museu de Arte de Brasília, Brasília, Brazil
– MAC – Museu de Arte Contemporânea de Goiás, Goiânia, Brazil
– MASC – Museu de Arte de Santa Catarina, Florianópolis, Brazil
– FUNARTE – Fundação Nacional de Arte, Rio de Janeiro, Brazil
– CAL – Casa de Cultura da América Latina, UnB, Brasília, Brazil
Curatorships and curatorial committees (selected)
2019
– Member of the selection committee for 24º Salão Anapolino de Arte, Governo do Estado de Goiás, Prefeitura de Anápolis, Brazil
2018
– “Laranja C.I. 15985″, solo exhibition by Gustavo Silvamaral, Ciclo Curare, deCurators gallery, Brasília, Brazil
2017
– Coordination of the Contemporary Photography Production Center #6 2017 da Galeria.Ponto, curatorship of the group exhibition “Subir, nada a temer..”, Brasília, Brazil
2016
– Coordination of the Contemporary Photography Production Center #5 2016 da Galeria.Ponto, curatorship of the group exhibition “A linha de sombra”, Brasília, Brazil
– Member of the curatorial commission of Espaço Cultural TCU, ISC, Brasília, Brazil
2015
– Member of the award judging committee “TRANSBORDA Arte Contemporânea”, Brasília, Brazil
– Lecture at “Semana do pensamento criativo”, coordinated by Charles Watson, CAIXA Cultural Fortaleza, Brazil
– “COMBOS”, group show, Hill House Brasília, Brazil
– “Conversas: Virgílio Neto e João Teófilo”, group show, Referência Galeria de Arte, Brasília, Brazil
2014
– Member of the National Selection Committee of the Edital Programa Rede Nacional Funarte Artes Visuais 11ª edição, 2014, Brazil
2013
– Member of the selection committee of Edital Funarte 2013 Brasília, Brazil
– “Mar de Rorschach”, solo exhibition by Elder Rocha, Hill House, Brasilia, Brazil
2012
– Member of the National Selection Committee of the Bolsa Funarte to encourage production in visual arts, Rio de Janeiro, Brazil
– “Aldemir Martins e o acervo da CAIXA: um nome no centro da coleção”, group show, CAIXA Cultural Fortaleza, Brazil
– “Centerfolder”, group show, Referência Galeria de Arte, Brasília, Brazil
– “Talvez o mundo não seja pequeno”, solo exhibition by Vírgilio Neto, book presentation text, Bolha Editora, November, Rio de Janeiro, Brazil
2011
– Member of the national selection committee for the Caixa Cultural agenda
2010
– “Aos ventos que virão: Artes visuais em Brasília 1960-2010″, group exhibition, curated by Fernando Cochiaralli, curatorial assistance, ECCO, Brasília, Brazil
Academic Follow-up (since 2010)
– Examining board member of Bachelor (2019), Master (2013) and Diploma (2011 and 2012) of the Arts Institute, Department of Visual Arts, UnB, Brasilia, Brazil
Quotes
– “Antologia da Poesia Visual / Língua Portuguesa”, edição AVE Promoção, 2013.
– “Itinerância dos artistas – a construção do campo das artes visuais em Brasília 1958-2008”, Angélica Madeira, Ed.UnB, 2013.
– “Entre poéticas e políticas”, Renata Azambuja, coleção Arte em Brasília, edição ITS, 2012.
– The artist is quoted at the Brasilia’s document as a World Heritage Site, UNO-Unesco, 1986.
- Solo exhibition”JOGO DE SIMPLES”, Referência Galeria
– dasartes.com
– gpslifetime.com.br
– visitebrasilia.com.br
– www.correiobraziliense.com.br - BSB PLANO DAS ARTES
- Exhibition “Athos 100 anos”, 2018
- GPS Brasília Ano 6 n.16, 2017
- Launch of the catalogue of “Recluso”, 2016
- Solo exhibition “Recluso”, Museu Correios, 2016
- Solo exhibition Referência Galeria de Arte, 2016
- Transborda Brasília, 2015
- Art criticism in Brazil, contemporary themes, Glória Ferreira, publicações FUNARTE, 2014
- Solo exhibition, Paradigmas Galeria de Arte, Barcelona, Espanha, 2010
– SIMPLE GAME
To think games. Or rather, to think of them as forms of encounters, a kind of relation that is also so proper to the painting. It happens by approximation. I think about their parts as pieces in touch, leaning against each other and I try to recognize the rules of that game, trying not to lose every time. I think of the forms and surfaces where the painting is organized, its fields and boards: there must be a margin, as indentation or fold, as a bulkhead or extension of the area. A reverse place, like a roadside, because painting makes the eye move forward. And the shadows, which are like other colors. To think people. One at a time. I think about some situations and their contours, including all that is not experienced. Those are the parts that remains. But confessed life causes me embarrassment. So, I think of some colors that stayed with me, of each person. A flickering patch of memory. RG
About Painting
The guiding principles that centre my paintings are found in the way I paint, along with it, and simultaneously. Paintings make me think of painting.
A painting is an invention that is achieved by its own means, and it is made to be seen. It goes beyond initial intentions.
Painting is a difficult accomplishment but it encompasses good thoughts. The desire to paint implies logical and incoherent thoughts and both are important.
A painting is either consequent or inconsequent, there is no middle ground.
The act of painting is directed by decisions, choices and findings in order to escape the criteria of harmony and balance, as it is not defined by the simple occupation of the surface.
To paint is like asking a wordless question and from that point on to build a machine.
Shapes and sizes should not be misunderstood. Big and small are parts of the logic of nature.
Everything is sized as it should. Something small can hold a lot, just as something big can be hollow.
A painting is an embodiment, albeit a two-dimensional one. It forms a body of painting, always ready to advance to yet another dimension. In this situation, it gains two components: the shadow, as a variation of color, and a visible side of the reverse, as a variant of the negative space.
Color should be smooth and continuous, very clean.
I pursue the possibility of a painting with no subterfuge nor narrative. Neither one nor the other.
RG
Related Posts
- Find out new pages and video-interviews of PIPA 2020 nominees
- MEET THE 72 NOMINEES FOR PIPA PRIZE 2020
- Transborda Brasília Prize 2015 | Winners to be announced next week
- Transborda Brasília 2015 Prize announces its 20 selected artists
- Last days | "Pela Superfície das Páginas" ["Through the Surface of the Pages"]
- Group exhibition addresses pages through different artistic languages
- On view | Group exhibition "Pela Superfície das Páginas" ["Through the Surface of the Pages"]