For the 10th edition of TEFAF New York, Gomide&Co is pleased to present a selection of works by Mira Schendel (Switzerland, 1919 – Brazil, 1988) and Amelia Toledo (Brazil, 1926–2017). Over a long period of their careers, the artists maintained an intense friendship, marked by in-depth conversations in which they shared considerations about their works, their work processes, experiments and discoveries, projects, and expectations, among a myriad of subjects. The critical essay of the presentation was written by curator and art critic Galciani Neves, who comments: “Through their drawings, jewelry (‘body sculptures’), monotypes, objects, installations, and paintings, Mira and Amelia built connections, entered into poetic pacts, shared their disquietude, and built out an environment of highly fruitful exchanges.”
The selection proposes an approximation between the artists, seeking to highlight particularities and possible similarities between their works. Despite being part of the artistic context of their time, both rejected being associated with specific trends or artistic movements, remaining faithful to their own poetics, marked by a unique character.
“We may argue that what their trajectories have in common is the inventive freedom with which they approached a wide variety of materials, a radical openness, and a sensitive ear to their more immediate and commonplace surroundings, and a willingness to experiment with myriad techniques”, adds Neves.
It is this capacity for experimentation that underpins the selection of works to be featured by Gomide&Co. In Mira Schendel's career, paper was one of the preferred supports for her practices, resulting in her best-known works, such as her series of Monotypes, Graphic Objects, Little Stubs, and others. The selection brings together works on paper created by the artist between the mid-1960s and the 1980s, most of which have never been shown to the public before, and which stand out for their experimentation with simple materials such as watercolor, crayons, or colored pencils. These works will be in dialog with examples from Amelia Toledo's Impulsos series (2010), in which the artist develops an investigation that revisits central issues in her sculptural career, such as the integration between natural form and human intervention.
| PREVIEW |
| INQUIRY |