Fortes Vilaça is pleased to present Oceano branco [White ocean] by Carlos Bevilacqua. The exhibition introduces a new material into the artist’s vocabulary – glycerin. The sculptures are thereby structured in the use of three forces made visible by the liquid medium: gravity, floatation and tension. The perception of the states of depth, surface and height are also a key factor for the appreciation of these works.
Oceano branco brings a contemplative state of spirit. It is also a metaphor of the imaginary realm, a place where form is measured by subjective dimensions. Eight sculptures are presented on a completely open shelf thus emphasizing the transparence of the artworks and the narratives that are developed among them. The ocean mentioned in the show’s title is revealed in sculptures filled with white dolomite (bottom) and glycerin (surface).
Quarenta Dias [Forty Days] and Oitenta Dias [Eighty Days] are aquariums in which a hollow glass sphere floats, anchored by lead weights and fishing lines. The spheres, with sand and a small lead ball, suggest the image of an ocular globe. The optical effects of the curved glass and the liquid create enlargements and reductions of the image. A single element can be seen in different sizes, evidencing the ambiguity of our perception.
Sonhos [Dreams] are works contained in glass jars where the artist constructs narratives discussing the relation between the unconscious and the conscious in the construction of the idea of reality. The elements are distributed along the bottom (buried in the sand), at the surface or in the liquid medium and at the top of the jar. The lines that connect the elements are bearers of tension, conductors of sensations.
Aurora is a glass bell jar with a hole at its top, which serves as the cradle for a solid crystal sphere. The bell jar is empty, except for some yellow dust, left over from the material used in the Sonhos. The sculpture that appears three times on the shelf suggests a movement toward the outside and creates a link with the only work that is outside the shelf. Toca da Serpente [Serpent’s Lair] is a wooden box with glass spheres, one inside the other and buried in white sand; the spheres are aligned by a beam of light that illuminates them.
Carlos Bevilacqua was born in 1965 in Rio de Janeiro, where he lives and works. The artist was trained at the New York Studio of Painting, where he held one of his first solo shows, among which we can highlight the Museu de Arte Moderna do Rio de Janeiro (2000) and the Museu de Arte Moderna de São Paulo (1992). Bevilacqua has also participated in various group exhibitions, including Desejo da forma, Akademie der Küsnte, Berlin (2010), and Um Mundo sem Molduras, MAC USP, São Paulo. His works figure in important collections, such as: of Inhotim, Brumadinho; MAM-Rio de Janeiro; and MAC USP São Paulo.
Galeria Fortes Vilaça and Galeria Luisa Strina are pleased to present, in partnership, the first solo show by artist Olafur Eliasson in Brazilian galleries. A series of new works and two large installations by the artist will be shown in parallel at the Galpão Fortes Vilaça and at Galeria Luisa Strina.
Eliasson’s work deals with sensory and perceptual questions, seeking to reinforce the idea that we all co-produce the world in which we live. The spectator, therefore, is never passive, but always takes part in the artwork’s process of signification.
At Galpão Fortes Vilaça, the visitor is welcomed by an environment defined by light, darkness and movement, where the artworks point to a world “which is not found, but made.” In Your uncertain shadow, one comes upon a large white wall – as the viewer crosses the space, the walls come to life with a series of shadows in movement. The shadows are superimposed in a scale of tones extending from gray to black, creating a sort of choreography.
Your roundabout movie inspires a greater degree of contemplation. Two rectangular objects – one solid and the other in the shape of a frame – are projected, slowly rotating, on a screen hanging in the center of the room. Their colored shadows – one green, the other pale red – turn until they are synchronized on a perfect continuous plane. The work invites the spectator to walk through the space to observe its mechanisms. Eliasson also presents a large new sculpture, Your aurora borealis particle, at the Galpão’s entrance. The hanging work consists of a series of mirrors and color-effect filter glass, where, once again, our action alters our perception of the world.
At Galeria Luisa Strina, the spectator is invited to engage with experimental objects that are the result of the artist’s engagement with scientific instruments, works that the architecture theorist Sanford Kwinter has called “perceiving machines.” In the artwork that lends the exhibition its title, Your orbit perspective, a slowly rotating semicircle, projected onto a screen, appears to tilt as it rotates. This three-dimensional effect generates a neurological stimulus that provides an altered experience of space.
Throughout the exhibition room, two groups of works, based on the observation of spatial geometry, are hung from the ceiling. Multiverse 1–10 presents works made with copper-coated steel wire, bent into circles and semicircles and held together by small magnets. The resulting shapes recall navigational instruments. In Your viewing orbit 1–3, intersecting semicircular wire segments are affixed to round mirrors, creating the optical illusion of spheres and making the viewer collaborate in constructing an illusionary yet real space. With Tectonic egosphere, the artist presents a sphere covered with black geometric patterns. This sculpture explores the relation of contrast between its exterior shape, a glass globe, and its interior, in which two mirrored polyhedra produce a series of reflections. When looking carefully through the gaps in the surface, the viewer discovers a visual uneasiness in its interior.
Born in Denmark, in 1967, Olafur Eliasson currently lives and works in Berlin and Copenhagen. His solo shows and recent projects notably include Little Sun, a solar-powered lamp launched at Tate Modern, London (2012); Your rainbow panorama, ARoS Aarhus Kunstmuseum, Aarhus, Denmark (2011); Your body of work, SESC Pompéia, SESC Belenzinho and Pinacoteca do Estado de São Paulo (2011); Innen Stadt Außen, Martin-Gropius-Bau, Berlin, Germany (2010); Your chance encounter, 21st Century Museum of Contemporary Art, Kanazawa, Japan (2009–10), and Take your time: Olafur Eliasson, SFMOMA (2007) and MoMA, New York (2008). He is currently participating in the Sharjah Biennial 11.