Common Sense" exhibition

Anita Schwartz Art Gallery presents the exhibition

Common Sense

The relationship between photography and painting, and issues such as a critical revision of history in order to highlight the relevance of blacks, indigenous people and women, and also the LGBTQIA+ universe are present in the work of Camila Soato, Douglas de Souza de Souza, Herbert de Paz, Igor Rodrigues, Marcelo Amorim, Maria Antonia, Marjô Mizumoto Mônica Ventura, O Bastardo, Pedro Varela, PV Dias and Rafael Carneiro

Opening: 30 June 2022, from 4pm to 7pm

Until 20 August 2022

Curator: Bianca Bernardo
Support: Beer Becks

Entry free

Anita Schwartz Art Gallery presents from 30th June of 2022, from 4pm to 7pm, the exhibition "Sentido Comum", a collective exhibition of contemporary contemporary Brazilian painting with 22 works by the artists Camila Soato, Douglas de Souza Herbert de Paz, Igor Rodrigues, Marcelo Amorim, Maria Antônia, Marjô Mizumoto Mizumoto, Mônica Ventura, O Bastardo, Pedro Varela, PV Dias and Rafael Carneiro, originating from different Brazilian citiesmostly of mostly with ages close to forty years oldand with trajectories already conknown in the art circuit.

"Common Sense" meets paintings "that are based on photographic images taken from personal collections, archives, magazines, newspapers magazines, newspapers, books and the Internet", says the curator Bianca Bernardo. "In the first half of the 19th century, with the advent of photography and the appearance of the first photographic records, a frequent dialogue and mutual influences were established between these two artistic languages. The exhibition presents a group of Brazilian artists who investigate the consonances and conflicts between painting and photography contemporary", he explains.

Some questions running through the works presented, such as a review historical review in order to highlight the relevance of black and indigenous peoples in Braziland that, despite being subjugated, resist. Gender issues are also present in several works.

"Immersed in the provocations that are proper to the universe of painting, the photographic device is a powerful matrix for questioning processes of the complex relationships around concepts and historical and social structures that have been were constructed through representation", observes Bianca Bernardo.

A history of art is also seen from critical way, where ironizes the idea of white male supremacy. Camila Soato (Brasília, 1985), who lives and works in São Paulo, inserts his self-portrait at "Courbet without Courbet" (2017) - oil on canvas, 120 x 150 cm - and draws on the idea of "fuleragem", slang for mess, lack of seriousness, of refinement - that turns into aesthetic force brushstrokes that enhance failures.  

Maria Antonia (1992, Rio de Janeiro) create the painting "Olympia" (2018-2019) - from the series "FleshandBody", charcoal and oil on canvas, 167 x 144 cm - as investigation of woman as body anthropological e biologicalwhere o erotic body arises out of need to affirm the pleasure as power and celebration of life. It's also hers "Ciranda" (2021), from the series "Flesh and Body", oil on canvas.

Rafael Carneiro (1985, São Paulo, where he lives and works) articulates freely forms of composition, in a process near the glueto escaping from formal premises of painting e get closer to the universe of collective imaginary and and art history. Feelings of danger and freedom also are also in his works "Balthus-Chiclete" (2021), oil on canvas, 200 x 150 cm, made from a black and white photograph black and white photograph of blind children studying animal taxidermy, and "Birds" (2021), oil on canvas, 200 x 140 cm.

GIVING VISIBILITY AND PROTAGONISM TO BLACK AND AFRO-AMERICAN PEOPLE

A review that gives visibility and protagonism to black people and the indigenous is present in the works of various artists, such as Igor Rodrigues (1995, Feira de Santana, Bahia, where he lives and works), who is in the exhibition with the painting "Blue in the Colour of the Sea" (2022), oil on canvas, 100 x 130 cm. In it, he comments on the beauty and strength of resistance of the black people.

The Bastard (1997, Rio de Janeiro) discusses the importance of historical revisionism and highlights the importance of normalizing the success of black people in their areas of expertise, such as painting "Nike (from the series de Griffe)"2021, acrylic on linen, 92 x 72 cm.

Monica Ventura (1985, Piracicaba, São Paulo, living in Paulo, living in the capital of São Paulo) invokes elements of his ancestry Afro-Americanand is interested in cosmology and cosmogony of native peoples. For her, historical absences are not simple coincidences. The need to produce a counter-statement can be seen in the work "Untitled" (2022), oil on canvas,130 X 80 cm

Herbert de Pazborn in El Salvador and based in Brazil since 2013, lives in Rio de Janeiro. His research questions the supremacist gaze and colonialist representation. colonialist representation. Through the techniques of collage drawing and painting, his work "Gaspar Yanga, El Primer Libertador de las Américas (Nyanga)"2022, part of fragments of the paintings by the Mexican painter Diego Rivera, highlighting the people Huastecowho made an alliance with Yanga to set up its quilombo at the foot of Pico de Orizaba Peak. The idea is to highlight the union of the indigenous peoples of Africa and the Americas which was given by this meeting. 

LOOKS AT INTIMATE DAILY LIFE, AMAZONIAN LANDSCAPE LANDSCAPE, GAY CULTURE

Marjô Mizomoto (1988, São Paulo, where he lives and works) is interested in the observation of everyday life. His paintings function as chroniclestelling stories that transcend the biographical for a common senseas in the painting "Untitled" (2022), oil on canvas, 180 x 135 cm. The artist's affective moments are elaborated in a poetic way, and when shared publicly, they gain new senses through the eyes of the spectator.

The questioning of constructed social roles e taxes institutionally from the repetition of modelling images, is in the works Marcelo Amorim (Goiânia, 1977), who lives and works in São Paulo. In the three works "Untitled" (2020), oil on canvas, andle uses images collected from family albums, internet, cinema and advertising to relate the collective visual imaginary with themes such as behaviour and discipline.

Douglas de Souza (Blumenau, 1984), who lives and works in São Paulo, shows in figurative paintings "Shadowplay" (2022), oil on canvas, 100 x 80 cm and "Untitled" (2022), oil on canvas, 130 x 80 cm, his interest in objects of the everyday lifeelements of the pop culture which serve the artist as allegories of an experience gay of what is masculinity.

PV Days (Belém, 1994) lives between Rio de Janeiro and Belém, and uses painting, photography, digital interventions, videos and animations to discuss the question anthropophagic of the movements from the north. At "Common Sense", there will be five works in digital painting on photography, from the series "Carioca Works"which were part of the exhibition "Casa Carioca"in the Rio Museum of Art Museum of Rio (MAR), from September 2020 to August 2021: "Marechal Hermes"(2020), "For a Day of sun: summer 2019 in Rio de Janeiro" (2019), "Bento Ribeiro" (2020), "Coelho Neto" (2020), and "Força (d)e Trabalho" ( 2021).

Pedro Varela (1981, Niterói) creates in both works "Untitled" (2022), drawings cut out and mounted on a panel with pins, a notion of three-dimensionality, manipulating reality so that the oneiric layers meet over enlarged spaces.

Service: Exhibition "Sentido Common"

Opening: 30 June 2022, from 4pm to 7pm

Until: 20 August 2022

Anita Schwartz Art Gallery

José Roberto Street Macedo Soares, 30, Gávea, 22470-100, Rio de Janeiro

Phone numbers: 21.2274.3873 e 2540.6446

Monday to Friday, from 10h to 19h, and Saturdays from 12h to 18h

Free entry

www.anitaschwartz.com.br