Laercio Redondo | anamasprojects.com

Without Paper Series (2018). Painting on textil and paper.Bends in Neobond.
61, 5 x 29 cm.

Laercio Redondo | anamasprojects.com

Without Paper Series (2018). Painting on textil and paper.Bends in Neobond. 46,5 x 29 cm.

Laercio Redondo | anamasprojects.com

Without Paper Series (2018). Painting on textil and paper.Bends in Neobond. 37 x 30 cm.

Laercio Redondo | anamasprojects.com

Without Paper Series (2018). Painting on textil and paper.Bends in Neobond. 64 x 23 cm.

Laercio Redondo | anamasprojects.com

Os Povos Indigenas (2017). Acrylic on canvas. 22 x 39 cm.

Laercio Redondo | anamasprojects.com

Os LGBTQ (2017). Acrylic on canvas. 23,5 x 45 cm.

Laercio Redondo | anamasprojects.com

Os Enfermos /Os Pode Portadores de Deficiencia (2017). Acrylic on canvas. 22 x 26 cm c/u.

Laercio Redondo | anamasprojects.com

Os Ciganos / Os. Vermelhos (2017). Dos piezas. Acrylic on canvas. 14,5 x 46 cm. 22 x 28, 5 cm.

Laercio Redondo | anamasprojects.com

Os Manifestantes / Os. Adolescentes (2017). Dos Piezas. Acrylic on canvas. 23 x 29 cm. 43,05 x 12,5 cm.

Laercio Redondo | anamasprojects.com

"Revolver", Bienal de Cuenca, Ecuador. 2018

Laercio Redondo | anamasprojects.com

"Restauro", Ana Mas Projects (Barcelona), 2016. Photography: Roberto Ruíz

Laercio Redondo | anamasprojects.com

"Restauro", Ana Mas Projects (Barcelona), 2016. Photography: Roberto Ruíz

Laercio Redondo | anamasprojects.com

"Restauro", Ana Mas Projects (Barcelona), 2016. Photography: Roberto Ruíz

Laercio Redondo | anamasprojects.com

"Restauro", Ana Mas Projects (Barcelona), 2016. Photography: Roberto Ruíz

Laercio Redondo | anamasprojects.com

"Restauro", Ana Mas Projects (Barcelona), 2016. Photography: Roberto Ruíz

Laercio Redondo | anamasprojects.com

"Restauro", Ana Mas Projects (Barcelona), 2016. Photography: Roberto Ruíz

Laercio Redondo | anamasprojects.com

"Restauro", Ana Mas Projects (Barcelona), 2016. Photography: Roberto Ruíz

Laercio Redondo | anamasprojects.com

"O que acaba todos os dias", MAM – Museu de arte moderna (Rio de Janeiro), 2015-2016

Laercio Redondo | anamasprojects.com

"O que acaba todos os dias", MAM – Museu de arte moderna (Rio de Janeiro), 2015-2016

Laercio Redondo | anamasprojects.com

"Tales with no Kings", Casa França Brasil (Rio de Janeiro), 2013

Laercio Redondo | anamasprojects.com

"Tales with no Kings", Casa França Brasil (Rio de Janeiro), 2013

Laercio Redondo | anamasprojects.com

"The simplest thing, is the hardest to do". Mies Van der Rohe Pavilion (Barcelona). 2020

Laercio Redondo | anamasprojects.com

"The simplest thing, is the hardest to do". Mies Van der Rohe Pavilion (Barcelona). 2020

Laercio Redondo | anamasprojects.com

"The simplest thing, is the hardest to do". Mies Van der Rohe Pavilion (Barcelona). 2020

CV

LAERCIO REDONDO

SOLO EXHIBITIONS (SELECTION)

2020

The simplest thing is the hardest to do. Mies van der Rohe Pavilion, Barcelona

2018

Relance. Pinacoteca Sao Paulo, Brasil.

2017

Galería Silvia Cintra, Rio de Janeiro, Brazil.

2016

Past Projects for the Future, curated by Justine Ludwig, Dallas Contemporary, Dallas, USA.
Restauro, Ana Mas Projects, Barcelona, Spain.

2015

What ends everyday, curated by Justine Ludwig, Museu de Arte Moderna, Rio de Janeiro, Brazil.
Fachada/ Façade, SoloProjects Focus Latin America, Arco Madrid, curated by Kiki Mazzuc chelli, Miguel A. López and Emiliano Valdés, Madrid, Spain.

2014

Restoration (from the series Lembrança de Brasilia/ Memory from Brasilia), curated by Lotte Møller, Die Raum, Berlim, Germany.

Fachada/ Façade, Galeria Silvia Cintra + Box 4, Rio de Janeiro, Brazil.

2013

Contos sem Reis – Tales with no Kings, curated by Fred Coelho, Casa França Brasil, Rio de Janeiro, Brazil.

2012

Lembrança de Brasilia / Memory from Brasilia, Galeria Silvia Cintra + Box 4, Rio de Janeiro, Brazil.

2007

Para mirar al sur, Galeria Box 4, Rio de Janeiro, Brazil.

2005

Facultad de Artes y Letras, Universidad de La Habana, Cuba.

Listen to me, curated by Yuneikys Villalonga, Centro de Artes Visuales Pedro Esquerré, Ma tanzas, Cuba.

Listen to me, Kunsthalle Göppingen, Germany.

2003

Listen to me, Centro Cultural Solar do Barão, Curitiba, Brazil.

2002

Listen to me, Espaço Cultural Sergio Porto, Rio de Janeiro, Brazil.

GROUP EXHIBITIONS

2018

Aspirational Architectures, Fridman Gallery, New York, USA.

ARCO, Ana Mas Projects, Madrid.

2017

Quando o Mar virou Rio, Museu Histórico Nacional, Rio de Janeiro, Brazil.

2016

Depois do Futuro, curated by Daniela Labra, EAV Parque Lage, Rio de Janeiro, Brazil.

Architectural Intersections, Lehman College Art Gallery, New York, USA.

2015

The Devil is in the details, curated by Jesús Fuenmayor, Ka.Be Contemporary, Miami, USA.

Quarta-feira de cinzas, curated by Luisa Duarte, EAV Parque Lage, Rio de Janeiro, Brazil.

Longing Objects, Sammlung Kunsthalle Göppingen und Gäste, Kunsthalle Göppingen, Ger many.

Tarsila e Mulheres Modernas no Rio, curated by Paulo Herkenhoff, Marcelo Campos and Nataraj Trinta, Museu de Arte do Rio, Rio de Janeiro, Brazil.

2014

Do Valongo à Favela, curated by Rafael Cardoso and Clarissa Diniz, Museu de Arte do Rio, Rio de Janeiro, Brazil.

Idea di Frattura – Opinione Latina / 2, Curated by Jacopo Crivelli Visconti, Galleria Francesca Minini, Milan, Italy.

Josephine Baker and Le Corbusier in Rio – a Transatlantic Affair, curated by Inti Guerrero and Carlos Maria Romero, Museu de Arte do Rio, Rio de Janeiro, Brazil.

Dispositivos para um mundo (im)possível, curated by Luisa Duarte, Roesler Hotel #25, Gale ria Nara Roesler, São Paulo, Brazil.

Arroz sem sal, curated by Kiki Mazzucchelli, Galeria Silvia Cintra + Box 4, Rio de Janeiro, Brazil.

Brasil:Arte/Música / Brazil:Art/Music, curated by Magda Kardasz, Zachęta Project Room, Warsaw, Poland.

2013

Amor e ódio à Lygia Clark / Love and hate to Lygia Clark, curated by Magda Kardasz in collaboration with Magdalena Komornicka, Zachęta National Gallery of Art, Warsaw, Poland.

Lembrança de Brasilia / Memory from Brasilia, Positions, Art Basel Miami Beach, USA.

Brutalidade Jardim, curated by Kiki Mazzucchelli, Galeria Marilia Razuk, São Paulo, Brazil.

Play, Museu Bispo do Rosário, Rio de Janeiro, Brazil.

Prêmio Pipa, Museu de Arte Moderna, Rio de Janeiro, Brazil.

Visão do Paraíso: Pensamento Selvagem, curated by Julieta Gonzalez and Pablo Leon de la Barra, ARTRIO, Rio de Janeiro, Brazil.

The right to the city, curated by Madelon van Schie, Stedelijk Museum Bureau Amsterdam, Holland.

The Insides are on the Outside, curated by Hans Ulrich Obrist, SESC Pompéia, São Paulo, Brazil.

MAC 50: Doações Recentes 1, Museu de Arte Contemporânea da Universidade de São Paulo, Brazil.

2012

Prêmio Energisa, Usina Cultural Energisa, João Pessoa, Brazil.

Esquemas para una Oda Tropical – An exhibition /a poem /a library / a landscape, curated by Pablo Leon de la Barra, Galeria Silvia Cintra + Box 4, Rio de Janeiro, Brazil.

Novas Aquisições 2010 – 2012 – Coleção Gilberto Chateaubriand, Museu de Arte Moderna, Rio de Janeiro, Brazil.

2011

Bananas is my Business: The South American way, Museu Carmen Miranda, curated by Julie ta Gonzales and Pablo Leon de la Barra, Rio de Janeiro, Brazil.

Arte Pará, Belêm do Pará, Brazil.

Fittja Open, Botkyrka, Sweden.

Power Distortion, Konstnärshuset, Stockholm, Sweden.

Washed o ut, Konsthall C, Hökarängen, Sweden.

2010

Some found text and borrowed ideas, Björkholmen Gallery, Stockholm, Sweden.

Outros Prazeres ou Aquilo que Amou ter de Volta, Casa das 11 Janelas, Belêm do Pará, Brazil.

Um so Mehr, Kunsthalle Göppingen, Germany.

2009

Arte Pará, Belém do Pará, Brazil.

O corpo na cidade, Centro Cultural Solar do Barão, Curitiba, Brazil.

2008

Body exercises, Institute for Contemporary Arts, Dunaújváros, Hungary.

Leibesübungen, Vom Tun und Lassen in der Kunst,Galerie der Hochschule für Bildende Künste (HBK), Braunschweig, Germany.

COLEÇÃO – DEARTES/UFPR, Curitiba, Casa das onze Janelas, Belem, Galeria Tijuana, São Paulo, Fundação Cultural Badesc, Florianópolis, Brazil.

2007

Leibesübungen, Vom Tun und Lassen in der Kunst, Kunsthalle Göppingen, Germany.

Put the light out, erase a line, Studio 44, Stockholm, Sweden.

Maybe at home, Pyramida Centre for Contemporary Art, Haifa, Israel.

Poder e Afetividade, Galeria Box 4, Rio de Janeiro, Brazil.

Amor/Love – (Art Publication & Project), DEARTES/UFPR, Curitiba, Museu Victor Meirelles, Florianópolis, Galeria Tijuana, São Paulo, Pinacoteca do Instituto de Artes, Porto Alegre, Centro Cultural São Paulo, São Paulo, Brazil.

2006

Geração da Virada, curated by Agnaldo Farias and Moacir dos Anjos, Instituto Tomie Ohtake, São Paulo, Brazil.

PF- Por fazer – (Art Publication & Project), Galeria Vermelho, São Paulo, CEART/UDESC.

Florianópolis, Fundação Cultural de Criciúma, Criciúma, Casa das Onze Janelas, Belem, Pinacoteca do Instituto de Artes, Porto Alegre, Galeria Ybakatu, Curitiba, Galeria A Gentil Carioca, Rio de Janeiro, Brazil – The Foundry, London, Inglaterra – Galeria El Borde, Buenos Aires, Argentina.

Kunst Lebt!, Kunstverein Stuttgart, Germany.

2005

The Flip Book Show, Kunsthalle Düsseldorf, Germany.

XI Triennale India, New Delhi, India.

2004

Im Bild, Kunsthalle Göppingen, Germany.

Nomades, Centre Culturel Les Chiroux, Liège, Belgium.

Em tempo sem tempo, Paço das Artes, São Paulo, Brazil.

2003

Modos de Usar, curated by Lisette Lagnado, Galeria Vermelho, São Paulo, Brazil.

Infantil, A Gentil Carioca, Rio de Janeiro, Brazil.

I am a Curator, Chisenhale Gallery, London, England.

MAD´03, Madrid/Barcelona, Spain.

Bienal do Mercosul, Porto Alegre, Brazil.

Arghh, Edsvik Konst & Kultur, Stockholm, Sweden.

2002

Materia Prima, curated by Lisette Lagnado and Agnaldo Farias, Museu Oscar Niemeyer, Curitiba, Brazil.

Rumos Visuais, Itaú Cultural, Belo Horizonte/São Paulo, Brazil.

Mostra Rioarte Contemporânea, Museu de Arte Moderna, Rio de Janeiro, Brazil.

GRANTS AND AWARDS

2012

Prêmio Energisa de Artes Visuais, João Pessoa, Brazil.

2011

Residence Botkyrka, project in collaboration with Birger Lipinski, Stockholm, Sweden.

Konstnärsnämnden, Grant, Stockholm, Sweden.

2008

Shooting Star, Public Art Project in collaboration with Birger Lipinski for Eva Bonniers Dona tionsnämnd, Stockholm, Sweden.

IASPIS, Residency Program, Stockholm, Sweden.

2007

Batiscafo Residency Program, Havana, Cuba.

2005

Konstnärsnämnden, Grant, Stockholm, Sweden.

2004-05

Akademie Schloss Solitude, Residency Program, Stuttgart, Germany.

2002

Konstnärsnämnden, Grant, Stockholm, Sweden.

I mostra Rioarte Contemporânea, Museu de Arte Moderna, Rio de Janeiro, Brazil.

II Prêmio Sergio Motta, São Paulo, Brazil.

PROJECTS

2013

Museum Museum – Untitled (Vernacular Furniture) in collaboration with Rivane Neuenschwan der, Birger Lipinski and Nyckelviksskolan, Moderna Museet, Stockholm, Sweden.

2008

Play it again, Hochschule für Bildende Künste in collaboration with Jugenddorf.

Christophorus-Schule, Braunschweig, Germany.

Children’s Library, permanent installation in collaboration with Birger Lipinski, Moderna Museet, Stockholm, Sweden.

Meeting Point, Workshop Zon Moderna – Tid & Plats: Rio de Janeiro, 1956-1964, Moder na Museet, Stockholm, Sweden.

2003

United Net-Works, Mobile Archive for Artists, Collaboration with Birger Lipinski.

COLLECTIONS

Andrea & José Olympio Pereira Collection, São Paulo, Brazil.

Centro Cultural Pablo de la Torriente Brau, Havana, Cuba.

Collection olorVISUAL, Barcelona, España.

Funarte, Rio de Janeiro, Brazil.

Gilberto Chateaubriant Collection, Rio de Janeiro, Brazil.

Itaú Cultural Collection, São Paulo, Brazil.

Kunsthalle Göppingen, Germany.

Museu de Arte Contemporânea, Casa das 11 janelas, Belém, Brazil.

Museu de Arte Contemporânea, Curitiba, Brazil.

Museu de Arte Contemporânea da USP, São Paulo, Brazil.

Museu de Arte Moderna, Rio de Janeiro, Brazil.

Museu Victor Meirelles, Florianópolis, Brazil.

Norrköpings Kommun Collection, Sweden.

Pinacoteca de São Paulo, Brazil.

Karla Meneghel, Collection, São Paulo, Brazil.

Luis Chrysostomo Collection, Rio de Janeiro, Brazil.

Gaia Donzet Collection, Paris, France.

Silvia Amélia de Waldner Collection, Paris, France.

Texts

  • RESTAURO
    Exhibition at Ana Mas Projects, Barcelona 2016

     

    Ana Mas Projects (AMP) presents in Barcelona the first solo exhibition held in Spain by Brazilian artist Laercio Redondo (Paranavai, 1967). The project, entitled Restauro (Restoration), develops a conceptual and aesthetic discourse that questions elements related to the (de) formation, construction and evolution of Brazil’s collective memory and identity, taking as a starting point the social, geographic, economic and politic changes experienced by the country in the 19th and 20th centuries.

    The exhibition consists of two installations, Restauro, Desvíos and Lembrança de Brasilia. Both installation highlight paradoxes and idiosyncrasies that bring into question the official and supposedly undisputed status of Brazilian historical constructs. From his deniable artistic and intellectual commitment, Laercio Redondo revisits a collective memory (the official one) affected by social and political interests. His main aim is to raise debate around different issues such as slavery, nationalism, modernity and urban imaginaries [1] .

    The discourse, as usual in Laercio’s work, is developed in parallel with the display. Nothing is randomly placed, every artwork has its own place, from which acquires its value. The different artworks of this artistic quebra-cabeça in which the artist addresses his proposal are arranged in a space where the spectator is included as another element of the discourse. This way, taking Herbert Bayer’s contribution as a reference, Laercio Redondo establishes the bidirectional connection that gives meaning to his work.

    This heterogeneous display is inspired by the early avant-garde movements, in which photography, film, design and architecture were interrelated. Laercio’s collaboration with experts from complementary disciplines is precisely one of the mainstays of his production. As the artist claims: “Colaborações têm desempenhado um papel importante no meu método de trabalho e tudo começou quando ficou clara a necessidade de aproximar disciplinas e campos que se relacionavam com a minha prática.”[2] In the case of the exhibition housed by AMP, it is necessary to emphasize the presence of one of his longest-standing collaborators, Birger Lipinksy, exhibition architect and furniture designer.

    Laercio Redondo’s proposal recovers (restores) two prominent figures in the history of Brazil, architect and self-taught urbanist Lota Macedo Soares (Paris, 1910 – New York, 1967) in Desvíos, and artist Athos Bulcao (Rio de Janeiro, 1918 – 2008) in Lembrança de Brasilia.

    the first one, public and private, natural and urban are connected through the story of two constructions conceived [3] by Lota, Parque do Flamingo [4] (early 1950s) – “one of the largest-scale urban and social interventions in the geography of Rio de Janeiro” [5] – and Casa Samambaia [6] (1951), where the artist lived with Elisabeth Bishop (Massachusetts, 1911 – Boston, 1979), the North American poet who was her partner for 15 years. Redondo’s video installation shows the 72-kilometres distance between both spaces. He brings back the story of this controversial artist, who was a key figure during the urban and cultural [7] development of Brazil- At the same time, the artist draws attention to some problematic issues that have (de)formed his country’s collective memory through the years.

    In Lembrança de Brasilia, Redondo emulates the tile panels built by Bulcao [8] in collaboration with workers, whose role in the construction process was crucial. Bulcao considers these artworks the “perfect combination of art, life and architecture”[9]. In dialogue with other works (silkscreens on plywood, natural plants and a video), the installation highlights matters related to social class and cultural and aesthetic values. Then again, Brazilian landscape is presented as a reflection of some key elements of a collective memory that, in spite of being partially veiled, remains present, waiting to be discovered by unquiet and critical minds like Redondo’s.

    This way, Restauro emphasizes the importance of recovering events and figures that contributed to shape history (whether Brazil’s or other’s) leaving a lasting imprint.


    1. Jesús Fuenmayor, Displays flexíveis, pg. 98.

    2. Laercio Redondo’s words for Justine Ludwig, Em Conversa, pg. 109

    3. Lota was invited to participate in the construction of the park by Carlos Lacerda, who was then governor of the State of Guanavara. Over the years, Lota’s original idea and, consequently, the memory of her participation in the construction process have vanished

    4. In the 70s, the park was named Park Brigadeiro Eduardo Gomes (Brazilian politician and military figure). The intervention of the park began in the 1950s. The project intended to cover an area of 1.2 million square metres destined for public use.

    5. Laercio Redondo. Text included in the video installation Desvíos.

    6.Designed in 1951 by architect Sérgio Bernades, with whom Lota actively collaborated during the building works of her house.

    7.Because urbanism is ultimately the reflection, the imprint of the culture where it is developed.

    8.Brazilian painter, architec and sculptor that took part in the creation of urban designs that remain nowadays fully and harmoniously integrated with the Brazilian landscape.

    9.Laercio Redondo. Exhibition at Casa França Brasil. 2013. Pg. 102.

    10.The origin of the commented issues are as general as colonialism, social classes or gender inequality but also, there are some concrete, such as urbanization of new cities, respect for nature or the creation of spaces destined for the population to enjoy them (physically and aesthetically).

    10. Cuestiones como las ya comentadas que parten de problemáticas tan básicas y generales como el colonialismo, la sociedad de clases o la desigualdad de géneros como otras más concretas como la urbanización de nuevas ciudades, el respeto a la naturaleza o la creación de espacios dedicados al ocio y disfrute (físico y estético) del pueblo.

  • JUSTINE LUDWIG
    Laercio Redondo: What ends every day

     

    Laercio Redondo (b.1967) unearths memories, often using architecture and its practitioners as a point of departure. Deeply invested in researching cultural dynamics, Redondo merges poetic narrative with personal vision to create multi-faceted installations. In this exhibition he examines such important Brazilian figures as Athos Bulcão, Lota de Macedo Soares and Lina Bo Bardi. Often giving voice to those who have been silenced, Redondo illuminates the universal implications of collective forgetting.

    What ends every day brings together work in diverse media created between 2007 and the present. Central to the exhibition is a new film installation, Detour, that traverses the distance between Flamengo Park designed by Lota de Macedo Soares, where the museum is located, and Casa Samambaia, her private home outside the city of Rio de Janeiro in the hills of Petrópolis. The soundtrack of the film brings attention to de Macedo Soares’s conspicuous absence from Brazilian collective memory.

    Also highlighted in the exhibition are Lina Bo Bardi and her Glass House. Redondo explores her masterpiece in two works—the video The Glass Houseand a series of photographs Blow Up/ The Glass House. The video shows documentation of the home on two occasions, one in 1999 and the other in 2008. It brings attention to the lived-in nature of the home, in contrast to being seen as an architectural remnant.

    The focus of Blow Up/ The Glass Houseis on details and objects that have been blown-up from the original images of the house to the point that they lose their sharpness. They act as a counterpoint to traditional architectural photos as the building itself is obscured. The images bring focus to objects that remained in the house during a period of restoration—transforming them into artifacts devoid of their original purpose.

    Two other individuals evoked in the exhibition are Brazilian artist, Athos Bulcão, and American, Cuban-born artist, Félix González-Torres. Bulcão is highlighted in the video Retoque. In this work a tile mural by Bulcão is translated into a musical score. In Para mirar al sur – After Untitled / Perfect Lovers Redondo reimagines González-Torres’s clocks as a pair of sundials brought to life by the Cuban sun. The work brings attention to the role of context as the work only truly functions in Havana. Redondo creates conversations with these two artists that traverse space and time.

    What ends every day is a reflection of the city and country that surrounds it, with all its complex societal dynamics. It ruminates upon architecture’s relationship with identity, both personal and national. Redondo, through his practice, resurrects cultural practitioners whose works still remain relevant today.

    Laercio Redondo was born in Brazil and is currently based between Rio de Janeiro and Stockholm, Sweden. He received his MFA at Konstfack, University of Art, Crafts and Design in Stockholm, Sweden. He has had solo exhibitions internationally in Spain, Germany, and Cuba in addition to Brazil.

  • PINACOTECA DE SAO PAULO
    Relance (2018-2019)

     

    Pinacoteca’s Brazilian art collection is interpreted anew in this Laercio Redondo exhibition

    Artist creates a sensorial installation in the Octagon and intervenes in works by fifteen different artists,

    including Anita Malfatti, Almeida Júnior, Claudia Andujar, Maria Martins, and others, to propose new

    readings of Brazilian art

    Opens: November 24, 2018, Saturday, at 11 am Through: February 25, 2019

    Pinacoteca de Sao Paulo will present, from November 24, 2018 through February 25, 2019,

    the exhibition Laercio Redondo: Relance, at the Octagon and the exhibition of the collection at the first floor of Pinacoteca. Curated by Fernanda Pitta, the senior curator at the museum, and consulting by American art historian Kaira M. Cabañas, the exhibition proposes to investigate other possible interpretations of the narratives concerning the history of Brazil, told through the museum collection,

    based on an olfactory experience.

    The craft of Laercio Redondo, who lives in both Sweden and Brazil, has long been dedicated to

    images from the collective memory and certain effacements from Brazilian culture. For Project Octagon, this Paraná-born artist explores the potentialities in an anecdotal story told of Estevão Silva (c.1844- 1891)—the first painter of African origin accepted into the Imperial Academy of Fine Arts, in Rio de Janeiro—who used to present his still life paintings right next to the fruits he painted so that their smell

    would be part of the observer’s perception.

    Based on this strategy, Redondo thought of a way to propose an intervention that explored

    other possibilities to experiencing art objects than visually. The result is a proposal of an intervention at the Octagon as the starting point of a tour of the museum along which visitors will find displays positioned strategically near works by Anita Malfatti, Almeida Júnior, Claudia Andujar, Maria Martins, and other artists, containing odor-coated cards. These olfactory chords were developed through a partnership between the Pinacoteca curator and the German fragrance house, Drom Fragrances, created by the perfumers Cleber Bozzi and Luis Paulo Natividade, with the olfactory direction of Matthieu Ferreira, Renata Abelin and Kelly Medeiros, who are part of the fragrance team and the creative area of

    the company.

    Curator Fernanda Pitta comments that “smell in this work by Laercio Redondo serves as a

    starting point for stories containing traces, leftovers, effacements, and comebacks to unfold.” She explains that “favoring the sense of smell is a strategy to activate, to free up, other memories, allowing new interpretations. Redondo, who has been working with procedures to erode, turn over, and reshuffle images, this time stretches his iconoclast self to the limit, in an attitude that seemed to him necessary to

    in a way escape the normalizing power images have.”

    With Relance, whose title is borrowed from a song by Caetano Veloso, meaning literally “glance

    again,” Redondo seeks to provoke a critical deviation to the symbolic value and the meanings commonly assigned to some of the works in the collection. “Hopefully, therefore, the smell will revolve the memory of spectators, shuffle things up and activate a historical experience that turns their perception around, confronting their effacements, made explicit by the images,” Pitta says. The strategy is intended to open up the possibility, based on the reversal of the senses, of new interpretations as well as to spot, by way

    of the museum’s collection, the gaps in Brazilian narratives.

    PROJECT OCTAGON

    Created 2003, the project titled Octagon Contemporary Art occupies an important space in the

    museum, featuring contemporary art productions commissioned by the museum. Over these 15 years, the project presented 40 site-specifics by Brazilian and foreign artists, including Ana Maria Tavares, Artur

    Lescher, Carla Zaccagnini, Carlito Carvalhosa, Joana Vasconcelos, João Loureiro, José Spaniol, Laura

    Vinci, Regina Silveira, Rubens Mano, Laura Lima, among others.

    ABOUT THE ARTIST

    Laercio Redondo was born 1967, in Paranavaí, Brazil, and lives and works in both Rio de Janeiro,

    Brazil, and Stockholm, Sweden. He finished graduate school at the Konstfack University College of Art, Crafts and Design, in Stockholm, Sweden, and held individual exhibitions in important spaces such as Dallas Contemporary (2016); Ana Mas Projects, Barcelona (2016); Rio de Janeiro Museum of Modern Art (2015); Die Raum, in Berlin (2014), among others. His collective exhibitions include Bienal de Cuenca (2018); Tarsila e Mulheres Modernas no Rio (2015) and Josephine Baker e Le Corbusier no Rio – Um caso transatlântico (2014), both at the Rio de Janeiro Museum of Modern Art; Idea di Frattura – Opinione Latina / 2, Galleria Francesca Minini, Milan (2014); Amor e ódio à Lygia Clark, Zachęta National Gallery of Art, Warsaw (2013); The right to the city, Stedelijk Museum Bureau, Amsterdam (2013); O interior está no exterior, SESC Pompéia, Sao Paulo (2013); Bananas is my Business: The South American way, Carmen Miranda Museum, Rio de Janeiro (2011); Leibesübungen – Vom Tun und Lassen in der Kunst, Galerie der Hochschule für Bildende Künste, Braunschweig (2008); Bienal do Mercosul, Porto Alegre, Brazil (2008); among others.

  • THE OPACITY OF THE MODERN
    Cecilia Fajardo-Hill

     

    “There is a gap in time and in the image that the Pavilion reflects (as in a mirror – in negative) that interests me.” Laercio Redondo

     

    “The Right to opacity would not establish autism, it would be the real foundation of Relation, in freedoms. (…) The Opaque is not the obscure (but) that which cannot be reduced.” Édouard Glissant

     

    The intervention ‘The simplest thing is the hardest to do’ by Laercio Redondo at the Mies van der Rohe Pavilion, or better known as the Barcelona Pavilion, is part of an ongoing investigation by the artist into the cracks, erasures, and injustices, that hide behind the “luster and pump” of art history and architecture. In his projects, the omissions and fissures are “revealed” to complicate not only the stories and truths that we know and repeat, but to inform dialectically the present in the past in both critical and poetic ways. Redondo works with the archive, and for every project, such as this one, he does extensive research; nevertheless, his investigations elude the production of academic knowledge proving or disproving a theory; he does neither want to produce ‘transparency’ of distinguishable information, nor reveal an ultimate truth. Instead, he creates a performative opacity. The writer, poet and philosopher Édouard Glissant (Martinique 1928- France 2011) describes ‘transparency’ as a colonial construct by which universal absolute truths are established thus creating totality and immobility, relegating any difference to the margins. The “difference” in the Barcelona Pavilion, may be described as the long omission of Lilly Reich as the shared author of the pavilion; or -as Redondo pinpoints-, the invisible labor of the builders of the pavilion, most likely poor workers or migrants, as it was the case for the construction of the city of Brasilia in 1960; or the ideological and commercial reasons for its creation in 1929, for its destruction, and for its reconstruction in 1986; or the role of  the sole sculpture in the pavilion, The Morning, 1925 By Georg Kolbe’s (Germany, 1877-1947) an idealized female figure of stretched arms and lowered gaze (while the brilliancy of Lilly Reich was made invisible) embodying the aesthetic ideal of classical modernism, – in apparent contradiction with avant-garde modernism of the pavilion- that soon came to represent (in Kolbe) a favorite aesthetic style for Hitler’s nationalism; or the absence of the organicity and liveliness of the plants in the 1986 pavilion,  or the nationalist underpinnings behind the fact that both pavilions “were political projects, with analogous relations and aspirations;” to announce in 1929 a post First World War  new Germanic ethos of modernity and progress, and in 1986, for Spain/Barcelona to highlight a post Franco era of cosmopolitanism. In his intervention, Redondo, delves into these differences.

    As a Brazilian and Latin American, Redondo has the advantage and urgency of distrusting metanarratives, given the long history of the dysfunctional relationships between political reality and artistic modernity in Latin America and particularly in Brazil. It follows that his interest in the Pavilion, does not lie in asserting its status as a canonical monument to modernism, but as a catalyst “to understand various problems and erasures in the Modern Movement, since its beginning.” The Barcelona Pavilion, as well as other architectural and urban models in Latin America such as the city of Brasilia share similar ideals, and what further unites them, is “catastrophe;” a sequence of disastrous events: the New York Wall Street Crash of 1929; Germany’s Nazi regime  (1933-45), Spain’s Franco dictatorship (1939-1975) and Brazil’s dictatorship (1964-85). Modernity is inevitably intertwined with political and social history, but art history, as well as subsequent perspectives and uses and representations of this modernity by society have tended to erase the ‘differences’ and create a “transparent” stable and perfect conception of the modern; a pinnacle of progressive ideals that suppresses other histories.  Redondo instead sees “a phantom, a shadow of the original building.” For him “today the Pavilion still reflects its past. Its ghosts remain present, as if trapped in a mirror in negative.” It is the phantasmagoric invisible presences that Redondo reveals through the performative opacity of his intervention.

    As the original floor plans were lost, the pavilion was rebuilt in 1986 without dependable or precise drawings, and with only thirteen black and white original photographs of the 1929 pavilion for reference. As Remei Capdevila-Werning indicates, “A notation -a score, a script, an architectural plan -is abstract and “defines a work solely in terms of its necessary features.” The way the incomplete architectural plans were interpreted in its reconstruction was by completing and perfecting the “ideal character” of the Pavilion, thus rebuilding it as a unique model of “teleological” modern architecture, “a very specific kind of modernity: a modernity associated with formalism, autonomy and purity” where the social, political, and cultural contexts have been erased. The reconstruction of the Barcelona Pavilion was an exercise in restauration, a discipline that is enormously complex, as important decisions are often made without having the necessary information about the original work, or decisions are made to erase specific material and ideological aspects of its history. This is the case of the restauration of for example the Sistine Chapel, 1481 ended in 1994, that in restoring the “original” vivid colors of the frescoes, it changed forever our understanding of this monument; or the difficult restauration unveiled in 2012 of the mural America Tropical by David Alvaro Siqueiros, painted 1931 in Los Angeles and whitewashed almost immediately as an act of censorship, that resulted in a subdued rendering of this political work, particularly compared to the striking figurativism of the original black and white photograph of this mural.  The reasons for highlighting or downplaying certain aesthetic aspects or moments in the history of a monument or work are a mixture of ideological and aesthetic decisions that are contextual to their time, site-specific, and loaded.

    Opacity is a different type of exercise from restauration or reconstruction that aims to create a “transparency” -a truth- even when is false; instead, the archaeology of time and materiality that Redondo unearths creates opacity, that according to Glissant is the “subsistence within an irreducible singularity”, where “opacities can coexist and converge, weaving fabrics.”  For this intervention, Redondo juxtaposes on the architectural structure of the building photographs printed in silk of the original building in 1929 and new photographs taken by the artist of the 1986 pavilion.  The overlay of the two registers creates a tension that reveals not only the transformations that have taken place, but “the dichotomy between display architecture versus permanent architecture”, i.e both the formal and functional mutations of the building versus the illusion of authenticity of the reconstruction. Printing the photographs in silk have several purposes, firstly to intervene the building subtly without exerting the violence of a new truth or the pretense of a correction, secondly to offer the spectator the performative freedom of participation, interpretation and reconstruction of the pavilion, and thirdly to pay homage and make visible Lilly Reich for her unique  expertise with textiles. Ultimately, as the artist explains, the silk is a metaphor, for “silk prints resemble cloudy landscapes of memory, images caught in the wind.” The artist makes a second important intervention by creating black monochromes on wood and travertine marble. The monochrome as an art form occupies a special place in the history of abstraction and art, as it is a sort of eccentricity that was never a movement and is not located in one specific moment in history, though it is deemed to be a modern invention. It is in many ways the ground zero of art, a surface that may contain everything and nothing at the same time. The monochrome may be a “perfect” embodiment of the complex layers of memory; an opaque surface where we may see ourselves reflected in it, or that it may activate different forms of awareness, and knowledge. The monochrome also may be a container and an activator of the potentiality of informed and subjective freedom.

    The impressions on silk or wood in the black monochromes juxtaposed to the pavilion use “the reproducibility in trying to expand the limit of the image by its opacity.” Redondo’s monochromes are engravings of photographs of the new pavilion in serigraphic technique, similar to the daguerrotype of the 19th century, a precursor to the photographic reproduction. At first glance the black monochromes are perceived at totally abstract, but as the spectator moves and interacts with the space and the installation, may discover the images of the pavilion, and therefore actively participate in the interplay (and tensions) between the visible and the invisible the artist is exposing about the erasures of the history of the building. Going back to Remei Capdevila-Werning’s indication that an architectural plan is abstract, it is fitting that Redondo recurs to abstraction to interpellate the modern nature of the pavilion, as well as the forceful and ultimately subjective interpretation of the drawings to underscore a perfect modernity; but also, importantly, to highlight the potentiality of the abstract to reveal something beyond the over-determination of the known and the recognizable. In many ways Redondo creates the inverse to the over-visibility and assertiveness of the new Pavilion, by proposing invisibility at first, and then a performative opacity, adding layers of complexity to the monument. The artist explains: “the interest in these images can happen exactly because of their opacity, due to the total lack of affirmation of an image at first.” This opacity as Glissant proposes does not mean the dissolution or the denial of the Barcelona Pavilion, but as if “weaving fabrics”, in weaving the untold histories into the present, it creates a dynamic embodiment of the materiality, ideology, complexities, and erasures of the building shaping a relative model for modernity, not an absolute.

    One key aspect of Redondo’s intervention is the inclusion of a sound installation in the building’s gardens, which deals with the history of the Pavilion and its erasures. The protagonist for the sound piece is Lilly Reich. As the artist writes, “Lilly Reich is a fundamental figure for understanding a constructive modernity that flourished (and vanished) in Germany in the early twentieth century.” She was a pioneer of modern design; an established fashion and furniture designer as well as modern exhibition designer and an architect. Since 1926 she collaborated in several projects with Mies van den Rohe, and was the artistic director of twenty-five exhibits for the German representation the Barcelona International Exhibition, and the co-designer of the Barcelona Pavilion. But how did Reich come to disappear as the co-creator of the pavilion?  Her absence is key to the notion of the patriarchal amnesia that makes modernism what it is; Reich is a great symbol of erased differences in the pavilion to forge an ideal of modernity, together with the poor builders, the political histories, the biased disciplines of art history in forging both in theory and practice a clinical ideology of the modern that is purely aesthetic. Here lies the importance of Redondo’s intervention, that while revealing the ghosts of the past and that “the Pavilion no longer has the same purpose and is no longer ephemeral,” he highlights the presence of Lilly Reich in the delicate silk imprints of the past and the present of the building, and in the sound piece that accompanies the spectator in their  journey through the opaque intervention by the artist. Laercio Redondo created not only a veiled theatricalization of the past highlighting the contradictions between the original intent of the pavilion, versus the new idealized reconstruction, as well as the reverberations of the tragic histories that befell both Germany and Spain while the pavilion was only a ruin; but he also underscores an inconspicuous parallel history of Brazilian modernism and the political failures that lead to dictatorship in Brazil and the de facto failure of modernism and modernity -as stable ideals- there and for some time, perhaps forever, also in Germany and Spain, and we may say in much of the world, in light of  present day global political turmoil.

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