Animal exhibition – opening day 21 Nov | Galeria Marcelo Guarnieri SP

Galeria Marcelo Guarnieri
riversideBlack and SPaul will

ANIMAL

Alfredo Volpi, Ana Elisa Egreja, Ana Paula Oliveira, Claudia Jaguaribe, Cristina Channel, Edu Simões, Eleanor cook, Ernesto De Fiori, Gabriela Machado, Guima, Guto Lacaz, Ivan Serpa, Julio Villani, LIUBA, Luiz Paulo Baravelli, Lygia Clark, Marcelo Grassmann, Marianita Luzzatti, Mario Cravo Neto, Milton Dacosta, Niobe Xandó, Paola Junqueira, Pierre Verger, Ranchinho, Renato Rios, Rodrigo Braga, Rogério Degaki, Silvia Velludo, Siron Franco, Tarsila do Amaral, Tatiana Blass, Thomaz Ianelli, Victor Brecheret, Vincent Ciantar, Yamamoto Masao.

opening Ribeirathe black 13 th November of 2019 / 19h – 22h
perimeter of consoliodo of exposurethe 13 November to 8 February 2020

Rua Nelio Guimaraes, 1290
Ribeirão Preto, Brasil

Opening São Paulo 21 th November of 2019 / 19h – 22h
perimeter of consoliodo of exposurethe 21 November to 8 February 2020
Alameda Lorena, 1835
São Paulo, Brasil
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info www.galeriamarceloguarnieri.com.br

Galeria Marcelo Guarnieri presents in its units in São Paulo and Ribeirão Preto exposure “ANIMAL”, with works by Alfredo Volpi, Ana Elisa Egreja, Ana Paula Oliveira, Claudia Jaguaribe, Cristina Channel, Edu Simões, Eleanor cook, Ernesto De Fiori, Gabriela Machado, Guima, Guto Lacaz, Ivan Serpa, Julio Villani, LIUBA, Luiz Paulo Baravelli, Lygia Clark, Marcelo Grassmann, Marianita Luzzatti, Mario Cravo Neto, Milton Dacosta, Niobe Xandó, Paola Junqueira, Pierre Verger, Ranchinho, Renato Rios, Rodrigo Braga, Rogério Degaki, Silvia Velludo, Siron Franco, Tarsila do Amaral, Tatiana Blass, Thomaz Ianelli, Victor Brecheret, Vincent Ciantar and Masao Yamamoto. Sample of 2019, divided into two units Gallery, is an exhibition of new edition that took place in Ribeirão Preto in gallery 2010, with presentation text again signed by the researcher and scientist Anette Hoffmann. From the inclusion of new work, the reissue intends to expand reading about the fascination, at all times, the animal aroused in the human mind. Works can be viewed in several languages ​​such as painting, photography and sculpture produced during a period comprising mid- 1930 by the year 2016 in different parts of the world, Pierre Verger from Vietnam to the Galapagos Islands of Claudia Jaguaribe. The animals making up the sample are presented in multiple configurations, a stripped sapo the crayons of a decade of the Volpi 1950 a complex “Self Portrait as coruja cat” Luiz Paulo Baravelli.

The character of the relations established between man and the animal throughout history were the most diverse. magical, bloody, sacred or violent, were built by us from the need to understand our own humanity - or bestiality - and our link with the divine or supernatural. The consumption of their meat, leather and workforce, through its domination and progressive domestication, by its cloning in the laboratory, you can see a dynamic in which the animal occupies a position of inferiority. However, the imaginary or even in daily life of many cultures, the boundaries between man and animal were often cross.

The works gathered in the exhibition invite us to reflect on both ancestors as technological issues, in locating on the verge of a post-human future and urging to revise our concept of humanity. Anette Hoffmann, in his text display comments: “as many travelers than last landed in the New World, Ivan Serpa builds a personal bestiary, a kind of disturbing transgenic poetry. Marcello Grassmann realize the animal as a mirror in which to reflect the many facets of your own being. Thanks to this insight to develop the ability to evade other lives, a metamorphic procedure can take you to the bottom of itself. Within a soul design, very present in his artistic production, Mario Cravo Neto promotes mergers that provide access to man, animals mediated by, the sacred immanent in nature.”

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Animal exhibition

Anette Hoffmann

Be little agile, devoid of aggressive features like tapered tooth and nail, the Paleolithic man had the closest establishment of prey. On the walls of the sheltered environment of the caves that dwelt, He drew scenes from their daily lives, where the animals were constantly present. Not moving any aesthetic purpose, but magic. Like magic was his relationship with nature. The drawings symbolically related to the forces, for him supernatural, that it manifested. He feared while respecting the qualities of animals. With a different brain, developed artifacts and a social organization that enabled him to dominate nature. Domesticated animal, He used it to their advantage. He used his strength at work and in war. He skinned him to dress up. Nourished up for their meat and their milk. Snubbed you to have fun. But the deeper mysteries of nature and its creatures not revealed the harassment of their instruments and their intelligence. Animal fed his imagination through the centuries. She saw him now as a god, sometimes as akin to demons. Immolated it on their altars to see him as a privileged link, able to mediate their contact with the gods. He peered into his gut in an attempt to decode divine messages that reveal his destination. In the restlessness of self-set, He used it as a reference now close, now far, just pray, sometimes quite another. In the imaginary and myths of many cultures, the boundaries between man and animal were often cross. In the opposite direction, especially in Western culture, to propose an order of the natural world, the man gave the animal a subordinate position. In an effort to defend his philosophical system, Descartes stripped him of his animality, comparing it to a machine, be unable, since, experience the suffering. In the wake of his thought, modern science, on behalf of an alleged progress, sacrificed it on the altar of laboratories. From the eighteenth century naturalists and sequence ethologists, They began studying the animals regardless of the advantage that could bring the man. As a result of these studies, the boundaries between man and beast proved increasingly porous. Primatologists propose expanding the boundaries of the genus Homo in order to include chimpanzees. Philosophers and scientists call upon us to revise our concept of humanity. With this, It comes a growing conflict between the new sensitivities aroused by the knowledge and material foundations of human society.

Far from running out, the complexity of human-animal relations populates, new forms, contemporary imagery. The work Soft Clark materialized this perception: o animal, as the man, It is not reducible to a single plan. Many openings are possible. Openings that nature itself has provided. But that, so scary, science and technology expanded: the trans-gene and clones engineered in laboratories, They lead us to the possibility of a post-human future, as shown by the disquieting works of Rodrigo Braga and Eduardo Kac. This at a time when even know define what characterizes our humanity.

In the opposite direction, comes a rescue movement of our relationship with the animal, renewal broken by a compact posture utilitarian. Many artists extend the animal a look questioningly, sensitive to their qualities. O animal, unfathomable and disturbing, It has a central place in the work of Goeldi. Like many travelers who last landed in the New World, Ivan Serpa builds a personal bestiary, a kind of disturbing transgenic poetry. Marcello Grassmann realize the animal as a mirror in which to reflect the many facets of your own being. Thanks to this insight to develop the ability to evade other lives, a metamorphic procedure can take you to the bottom of itself. Within a soul design, very present in his artistic production, Mario Cravo Neto promotes mergers that provide access to man, animals mediated by, the sacred immanent in nature.

ANIMAL exhibition shows the fascination that in every age, the animal aroused in the human mind. the beauty, as show some exhibits, but also the mystery. Mystery sends us inclusively, inside ourselves, idea so well expressed in verses Oliviero Girondo: "I, at least, I'm sure you could not stand it (life) without this evasion fitness, that allows me to transfer me where I am not: be ant, giraffe, lay an egg and, what is even more important, find me to myself at the time had forgotten, almost completely, of my own existence ".

Contrary to this aspect ratio mediated by bonds phillia, animal figures, that populate the intimacy of a bedroom in the work of Ana Elisa Egreja, They evoke a distance of movement. In a world dominated by marketing relations and mass culture, the spaces are filled with zombies, to the same extent that all, the animal and the man himself is emptied of its interiority.