São Paulo, Brazil, 1986.
Lives and works in São Paulo, Brazil.
Bachelor of Visual Arts from the Fundação Armando Álvares Penteado. The artist worked as an assistant to Antonio Peticov and dedicates himself mainly to painting. In 2007, 2008 and 2009, the artist presented at three Exposições Anuais (internal exhibitions at FAAP) and was selected for a scholarship. Still, in College, he joined the “Anarcademia” group of Dora Longo Bahia, and participated in the Biennial of Art of São Paulo (2008), curated by Ivo Mesquita. That same year, he presented his work at Casa Vazia, in São Paulo. In 2010, he participated in the exhibition “Arrebaldes e Arredores”, in the Lutetia building of FAAP, and in the “Paralela” show. In 2011, he had his first solo show at Luciana Brito Galeria, entitled “Standard”. That same year participated in the “Programa Exposições”, in the Museum of Art of Ribeirão Preto, MARP. In 2013, Luciana Brito Galeria held his second solo exhibition titled “Overal”. In the year 2015, Tiago Tebet participated in the Biennials of Rio de Janeiro and Mercosul in Porto Alegre, both in Brazil, and also curated the group show “30RAT / ART”, at Luciana Brito Galeria, in which he also exhibited his own works. In 2017, he participated in the exhibition “Fábula, frisson, melancolia” at the Institute Tomie Ohtake, in São Paulo.
Education
2009
– Fundação Armando Álvares Penteado, São Paulo, Brazil
Solo Exhibitions
2017
– “AAAAAhhh!!!”, Luciana Brito Galeria, São Paulo, Brazil
2013
– “Overal”, Luciana Brito Galeria, São Paulo, Brazil
2012
– Tiago Tebet, Sim Galeria, Curitiba, Brazil
2011
– “Standard”, Luciana Brito Galeria, São Paulo, Brazil
Group Exhibitions
2017
– “Fábula, frisson, melanciolia”, Instituto Tomie Ohtake, São Paulo, Brazil
2016
– “Residência Moderna”, Luciana Brito Galeria, São Paulo, Brazil
– “Paralaxe”, A Fabrika, Curitiba, Brazil
2015
– “15”, Luciana Brito Galeria, São Paulo,Brazil
– “A Arte e a Ciência: nós entre os extremos”, Instituto Tomie Ohtake, São Paulo, Brazil
– “30RAT/ART”, Luciana Brito Galeria, São Paulo, Brazil
– “TRIO Bienal”, Rio de Janeiro Biennial, Brazil
– 10th Mercosul Biennial, “Mensagens de Uma Nova America”, Porto Alegre, Brazil
– “No Sound”, Galeria Millan, São Paulo, Brazil
2013
– “Geometria Fragmentada”, Galeria Contempo, São Paulo, Brazil
2011
– “Os Primeiros Dez Anos”, Instituto Tomie Ohtake, São Paulo, Brazil
– “Estratégias para Luzes Acidentais”, Luciana Brito Galeria, São Paulo, Brazil
– “Programa Exposições”, Museu de Arte de Ribeirão Preto, MARP, Ribeirão Preto, Brazil
2010
– “Paralela 2010”, Liceu de Artes e Ofícios, São Paulo, Brazil
– “Arrebaldes e arredores”, Fundação Armando Álvares Penteado, São Paulo, Brazil
2009
– “41ª Anual de Artes Plásticas da FAAP, Fundação Armando Álvares Penteado, São Paulo, Brazil
– Luciana Brito Galeria, São Paulo, Brazil
– “Novembro Arte Contemporânea”, São Paulo, Brazil
2008
– “40ª Anual de Artes Plásticas da FAAP”, Fundação Armando Álvares Penteado. São Paulo, Brasil
– “Grupo Anarcademia”, Bienal Internacional de São Paulo, Brazil
– “Casa Vazia”, São Paulo, Brazil
2007
– “39ª Anual de Artes Plásticas da FAAP”, Fundação Armando Álvares Penteado, São Paulo, Brazil
Selected Awards
2009
– “40ª Anual de Artes Plásticas da FAAP”, Fundação Armando Álvares Penteado, São Paulo, Brazil
To explore new experiences creating unusual situations during their process, even if known languages and techniques are used, their use never seeks to reaffirm something that has already been seen, but to seek through their new disposition, new relationships, and meanings. Having language as a primary subject.
I have always been interested in the counterculture present in skateboarding and popular culture in marginalized areas. Motivated by these experiences that I expressed my first clashes with society and a willingness to express myself, trying to take advantage of the city and its architecture in ways still very little explored or even illegal at the time. In an attempt to respond to the gaps left by society or to certain annoyances created by it. Like when I used the internal access ramp of the Ciccillio Matarrazo pavilion better known as the Biennial pavilion with a skateboard.
Moving toward the paintings done within the studio, I brought with me the struggles and motivations experienced at that time as well as visual references of the marginalized cultures and operational techniques, present in large societies like São Paulo.
Working with architectural images and popular aesthetics that are used in the periphery of the city to give another meaning to functional architectural elements, such as a painting of a coastal landscape with waves and the sun in the blue sky applied on the surface of the steel gate, or a painting of stones resembling a nature no longer found in the city on a roughly finished “chapisco” concrete wall. Such events and visuals characteristics together motivate me to try to deconstruct and question the value and languages established in contemporary arts. Unlike searching for a new language, I think the most interesting debate would be the discussion of the languages found within existing popular culture and new values created through the displacement and manipulation of them. By appropriating common techniques of craftsman and builders, I try to bring some of their values such as practicality, functionality, and efficiency of resources. Such values attract my attention and motivate me to serve as a “bridge” between two very distant fields within society.
I believe that paintings and art, in general, should not only be present in the most peripheral zones of the city but also act as a way of bringing the values of these zones and people to the cultural, intellectual and financial centres. My participation as an artist would not be to create but appropriate, and displace cultural information of the different parts of society.
“The country does not advance because it does not know where it is necessary to arrive. To know for sure, it was necessary to go to the bottom of things, and at the bottom of things you only get through criticism”, is the quote from the Mexican Daniel Cosio Villegas that Carlos Guilherme Mota and Adriana Lopez use as the motto of the last chapter of your History of Brazil.
