In “I don't see the time”, artist presents works around the perception of time; gallery celebrates expansion with new space, new partner and new artistic director
“I don't see the time”, individual from Lenora de Barros, opens new headquarters Gomide&Co, gallery that becomes part of the cultural corridor of Paulista Avenue, with a space of 600 square meters on the ground floor of the Pink Building, entirely renovated by award-winning Acayaba architects + Rosenberg.
While inaugurating the exhibition space, the expansion of Gomide&This is also done with the arrival of Fabio Frayha, former director of MASP, administrator specialized in the world of visual arts, who starts to act as partner of the gallery alongside the founding partner Thiago Gomide.
art criticism, curator and researcher with more than 15 years of trajectory in contemporary art, Luisa Duarte joins the team as artistic director.
About the exhibition
“I don’t see the time” brings together twelve works, mostly unpublished, which have as a common denominator an elaboration on time. from photographs, video, sound installation to a transfigured ping-pong table, the artist plays and invites us to play with the relationships between language, temporality and body.
Going beyond the gallery's exhibition limits, Those who arrive at the exhibition are already greeted outside by the work “I don’t see the time” (2023), that enunciates and announces the title of the show through a moving sign. By appropriating an expression used in Brazilian colloquial discourse as a kind of ready-made, Lenora provokes the notion of time and how we relate to it.
Language in its visual dimension is also explored in other works., as in “ORA ERA” (2008), in which the artist uses words and colors, playing with their meanings and uses.
By addressing temporal and linguistic issues, Lenora gets rid of the usefulness of devices to measure time. Among the exhibited works, four have clock hands in their composition. In the video-performance “What time is it?” (2023), projected on the ceiling of the gallery, a rain of hands falls on a sieve while we listen, in the background, Hélio Oiticica's responses in dialogue with Haroldo de Campos.
In "Nebulae" (2009/2023) , work that brings a series of three photographs, clouds of pointers become a kind of cosmic dust gravitating in the pitch. In “Forecast” (2023), we see a couple of photographs, in which lines from the palms of two hands form a cartography on which the pointers rest. The title refers both to the idea of predictability inherent to watches, as to the belief that our fate was predicted in the inner part of the hands.
Visiting the three-dimensional plane, in “Camadas” (2023), very thin overlapping sheets of glass keep pointers next to tiny pieces of paper that bear words written in the diminutive.
In this meticulous care with the temporal dimension, the body, central element of the artist's entire production, is also present. In the photographic polyptych “O Ventre.” (2023), Lenora overlaps these two dimensions, temporal e corporal, by manipulating clay on the body fragment where the beginning of our time count on Earth is gestured – the womb.
Continuing a long series which the artist has been developing since 1990 around ping-pong as a poetic receptacle, “Table for Ping-Poems (from the series I can't wait)” (2023) and four kits for “imaginary” ping-pong games call us to relate to ourselves and time in an unconventional way. Among the other works exhibited, the sound installation “How long does time have” (2023) brings the relationship between Lenora and her mother, Electra Delduque de Barros, from a recording made between the two.
Thus, The works gathered in “Não Não Vi a Hora” visit a burning territory of the present time, that of our tortuous relationship with time. Lenora de Barros knows that in the face of conventional ways of measuring time, time always takes more from us than we do from it.
To play a trick on time, the artist tries to subvert such conventions and for that she puts on stage her poetic repertoire that makes use of verbivocovisual strategies with ways to address us, combining rigor and humor, other ways of relating to time, time that forms the fabric of our lives.
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About the Artist
Born in 1953, in São Paulo, Lenora de Barros graduated in Linguistics and her first works can be placed in the field of “visual poetry”. In 1983, published the book where to see, set of poems constructed as photographic sequences of performative acts.
His most important group and solo exhibitions include participation in the 59th Venice Biennale – The Milk of Dreams (Venice, 2022), RETROMEMORY, at MAM-SP – Museum of Modern Art of São Paulo (2022), Tools for Utopia: Selected works from the Daros Latinamerica Collection, no Kunstmuseum Bern (Bern, 2020), THAT'S OUR ISSUE, the Cultural Workshop Oswald de Andrade (São Paulo, 2016), 4the Thessaloníki Contemporary Art Biennale (Greece, 2013), 11a Biennial of Lyon (France, 2011), in addition to participating in the 17th, 24the 30th editions of the São Paulo International Biennial (1983, 1998 and 2012).
His work is part of important collections in Brazil and in several countries., including the Hammer Museum (CA, USA), MACBA – Museum of Contemporary Art of Barcelona (Spain), Daros Latinamerica Collection (Switzerland), Museo Nacional Centro de Arte Reina Sofía (Spain), MAM-SP and Pinacoteca do Estado de São Paulo.
about the gallery
Founded in 2013 in São Paulo, to Gomide&Co has achieved a prominent position nationally and internationally, participating in the most prestigious art fairs, concomitant performance in the primary and secondary markets and a highly regarded program of rigorously constructed exhibitions.
“We act as one of the main sources for private collectors to, museums and institutions expand their collections of Brazilian art”, defines Thiago Gomide, who started his career with a small gallery of modern Brazilian furniture in his hometown, Belo Horizonte, worked alongside Bernardo Paz in the creation of Inhotim and headed the contemporary art and photography department at Bolsa de Arte.
In 2013, created the Bergamin Gallery & Gomide, on Rua Oscar Freire, that from 2021 it also occupied a modernist house designed by the architect and artist Flavio de Carvalho.
Among the exhibitions held by the gallery are “And you can't imagine that Epaminondas is me” (2014), with works by Amadeo Luciano Lorenzato and curated by Rivane Neuenschwander and Alexandre da Cunha; “Attributes of Silence” (2015) curated by Felipe Scovino, “BEUYS” (2016) the first solo exhibition by the German artist in a Brazilian gallery; Fabio Mauri (Without Art)” (2017), “Mira Schendel: Laths and Black and Whites” (2018), “Conceptual Strategies” (2018); curated by Ricardo Sardenberg; "Antoni Tàpies" (2019); “Bruce Conner: Breakaway” (2019); Bruno Munari: Always a New Thing” (2020) and “Our North is the South” (2021).
The inauguration of the new headquarters on Avenida Paulista marks a stage of growth and professionalization, with the administrative expertise of Fabio Frayha – who, at the head of MASP's executive management, acted in the consolidation process of the recent institutional transformations implemented in the Museum, alongside Heitor Martins and Adriano Pedrosa – and Luisa Duarte, Curator, art critic and researcher with a keen eye, at the same time rigorous and inventive, for the dialogue between productions from different periods and artistic languages, which will set the tone of the program.
Service
I don't see the time, by Leonora de Barros
Local: Paulista Avenue, 2644. São Paulo – SP.
Opening: 08 March, at at 6 pm
Exhibition period: 08 March to 13 de Mayo
Visitation schedules: Monday – Friday 10am to 7pm, saturday of 11 às 17h.
Free entrance.
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