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Galeria Fortes Vilaça presents Simon Evans - Interior Design | Jac Leirner | métrica mínima

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18 Nov 2015 to 22 Jan 2016
Tuesday to Saturday 10 am – 7 pm
Galeria Fortes Vilaça
Rua Fradique Coutinho 1500
Rua James Holland 71, Barra Funda
Sao Paulo
South America
T: + 55 11 3032 7066
F: + 55 11 3097 0384


Artists in this exhibition: Simon Evans, Agnieszka Kurant, Jac Leirner

Simon Evans
Interior Design

Opening 18.11.2015, 19h - 22h
Exhibition 18.11.2015 | 22.12.2015
Galeria Fortes Vilaça
Rua Fradique Coutinho 1500
05416-001 São Paulo Brasil

Galeria Fortes Vilaça is pleased to present Interior Design, the second solo show by Simon Evans in Brazil. His artistic practice enjoys the collaboration of Sarah Lannan, his wife and creative partner. The British artist presents new works that reaffirm his unique artistic language, characterized by elaborate collages of fragments of paper, texts and images. The obsessive character of his compositions is blended with elements of his home life, evoked by objects from his household and by his interest in textiles.

The use of text, extensively explored in all of Evans’s work, is not so directly present here, opening space for drawing and the form to take center stage. The writings of Selfish Prayer Rug seem less interested in forming words and more apt to create abstract patterns that accompany the surface relief of the piece – two yoga mats.

Collecting materials for the works plays an important role in the artist’s practice, blending the attributed meanings with his own life stories. Repetition of the idea of the form. Materials that deny us Immortality was created from walks through New York parks, where the artist collected hundreds of four-leaf clovers. In the work, he organizes the plants into a quasi-landscape, reflecting his yearning for healthy habits and, in a wider sense, a dogged search for good luck.

In The World Beats Art, the carpet that Evans has at home is re-created in fragments of photos, drawings and objects that emulate the original pattern. For its part, Door was produced through a detailed process of weaving: small strips of paper are woven to compose a sort of fabric. Textile elements also pervade other works and lend unity to the exhibition; they are important not only for imparting a sense of familiarity, but also for introducing the idea of weaving – a slow and introspective activity, in opposition to the contemporary immediatism. Evans echoes this artisanal approach in his works and, through a web of personal narratives, reveals his own interior design.

Simon Evans was born in 1972 in London and currently lives and works in New York. His solo shows have most notably included Only Words Eaten By Experience, MOCA Cleveland (USA, 2013); First We Make the Rules, Then We Break the Rules (Simon Evans & Öyvind Fahlström), Kunsthalle Düsseldorf (Germany, 2012) and Kunsthal Charlottenborg (Copenhagen, Denmark, 2012); How to Be Alone When You Live with Someone, MUDAM (Luxembourg, 2012); and How to get about, Aspen Art Museum (USA, 2005). The artist has participated in the following biennials: the 12th Bienal de Istanbul (Turkey, 2011); 31st Panorama da Arte Brasileira, MAM (São Paulo, 2009); 27th Bienal de São Paulo (2006); and the California Biennial, OCMA (Newport Beach, USA, 2004). His work is present in various important collections, such as Aspen Art Museum (Aspen, USA), CIFO (Miami, USA), Louisiana Museum of Modern Art (Humlebaek, Denmark), Miami Art Museum (Miami, USA), MUDAM (Luxembourg), Philadelphia Museum of Art (Philadelphia, USA), SFMOMA (San Francisco, USA), and others.


Agnieszka Kurant

Opening 18.11.2015, 19h - 22h
Exhibition 18.11.2015 | 22.12.2015
Galeria Fortes Vilaça
Rua Fradique Coutinho 1500
05416-001 São Paulo Brasil

In parallel with the exhibition Interior Design by Simon Evans, Galeria Fortes Vilaça presents on its second floor the short film Cutaways, by Polish artist Agnieszka Kurant. Made in partnership with award-winning film editor Walter Murch (Apocalypse Now, The Godfather), the work brings to the screen the invisible world of characters who were conceived and filmed during the production of certain feature films, but then completely deleted from the final cut. In the film, the artists gives life to three of these cut out supporting actors, which were extracted from cult productions by Kubrick, Tarantino and Sarafian.

Kurant’s conceptual work deals with complex concepts such as immaterial labor and virtual capital, which she calls “phantom capital,” in order to explore how abstract phenomena generate concrete impacts in the economy, politics and culture. Her short film Cutaways (2013; 23 minutes) involves phantom characters who for reasons regarding film duration or structure had their existence deleted by film editors. Although all visible trace of them has been removed from their respective films, they still remain strangely present in them.

Cutaways narrates the encounter of three such phantom characters from different films, as though they had gained an autonomous life and began to share the same narrative limbo. The plot is based on the respective original screenplays, even appropriating some of their lines. Three of the original actors have agreed to participate in the film, playing their respective characters after a span of many years: Charlotte Rampling as the hitchhiker in Vanishing Point (by Richard C. Sarafian, 1971), Abe Vigoda as the lawyer and best friend of the protagonist in The Conversation (by Francis Ford Coppola, 1974); and Dick Miller as the owner of the junkyard in Pulp Fiction (by Quentin Tarantino, 1994).

A list of Hollywood names appears at the end, informing that various other actors also played phantom characters in their careers. The typography of each name is based on that used in the posters of the respective films, as though the artist is proposing a game of discovering which films they were excluded from.

Agnieszka Kurant was born in 1978 in Lodz, Poland, and currently lives in New York. Her solo shows have most notably included exformation, Sculpture Center (New York, 2013) and Stroom den Haag (the Hague, Holland, 2013); 88.2 MHz, Objectif Exhibitions (Antwerp, Belgium, 2012), and Theory of Everything, Museum of Modern Art (Warsaw, Poland, 2012). She has participated in various important biennials such as the Performa Biennial of New York (2013 and 2009), the Venice Architecture Biennale (2010), the Bucharest Biennial (2008), and the Moscow Biennial (2007). Her work has been featured in group shows at prestigious venues that include Guggenheim (New York, 2015), MoMA PS1 (Long Island, 2013), Witte de With (Rotterdam, 2011), Tate Modern (London, 2006), and Palais de Tokyo (Paris, 2004).


Jac Leirner

métrica mínima

Opening 28.11.2015, 12h - 15h
Exhibition 28.11.2015 | 22.01.2016
Galpão Fortes Vilaça
Rua James Holland 71 | Barra Funda
01138-000 São Paulo Brasil 

We are pleased to present métrica mínima, Jac Leirner’s exhibition at Galpão Fortes Vilaça. The São Paulo-born artist exhibits new works, created with Sudoku games she solved and collected over several months. All works were developed from her decision to give form to abstract processes such as logic, reasoning and, above all, the lapse of time.

In the métrica mínima series – exhibited for the first time during this year’s Sharjah Biennial –, Leirner uses recurrent strategies of her artistic practice, such as accumulating, reorganizing and switching between high and low culture. Mathematical reasoning inherent to the game is translated into the work through the artist’s formal rigor: Leirner presents the game on linen canvases of different formats, which are generally long and horizontal. Similar to rulers, the works reveal the artist’s interest in measuring time – or, more specifically, the time dedicated to solving the games. Small variations on the height of the canvases follow the format of the Sudoku games and also establish a situation of rhythm for the works.

The other works included in the exhibition reflect the artist’s efforts to use up all the formal possibilities of the new material, which include edges, remains and prints resulting from the Sudoku practice. In Números [Numbers], for instance, Leirner creates monotypes with carbon paper, transferring the solution of the games to other surfaces. Unlike the pieces placed on linen, in this case, the digits run free from the square frames and randomly spread out on the paper, generating concentration areas.

In yet another development, the artist creates collages with colorful newspaper strips from the comics section. The process stems from the act of cutting out the Sudoku game, which brings forth abstract forms and word games in line with traditional visual poetry. This is the case of Ilustração para um poema [Illustration for a poem], marked by rectangular cuts, as well as of Free Style and its irregular cuts. Nível Fácil [Easy Level], Nível Médio [Medium Level] and Nível Difícil [Hard Level] follow the same constructive logic and summarize the difficulty of the games by means of formal solutions.

Each gesture of the main action of completing and cutting out the Sudoku game gains a touch of meditation, as if fast and semi-unconscious everyday action were to deserve special attention or maximum concentration. Acts conducted at the studio become clear in the completed works: getting things wrong or right, writing or scribbling, cutting out and reorganizing define the works just as much as the material with which they are made.

Jac Leirner  was born in 1961 in São Paulo, where she lives and works. Her most recent individual exhibitions include: Funciones de una variable, Museo Tamayo (Mexico City, 2014); Pesos y Medidas, CAAM (Las Palmas de Gran Canaria, Spain, 2014), Hardware Seda – Hardware Silk, Yale School of Art (New Haven, USA, 2012); Jac Leirner, Estação Pinacoteca (São Paulo, 2011). Her extensive curriculum of exhibitions further includes participations in the following: Sharjah Biennial (2015), Istanbul Biennial (2011), Venice Biennial (1997 and 1990), Documenta in Kassel (1992), São Paulo Biennial (1989 and 1983). Leirner’s works are part of several leading collections worldwide, including: Tate Modern (London), MoMA (New York), Guggenheim (New York), MOCA (Los Angeles), Carnegie Museum of Art (Pittsburgh, USA) and MAM (São Paulo), among others.

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