Bergamin & Gomide participates in ArtRio 2020 at stand D4, with works by Amadeo Luciano Lorenzato, Camila Sposati, Giulia Puntel, Marcelo Cipis, Pedro Caetano and Tiago Mestre. The fair takes place from October 14th to 18th at Marina da Glória in Rio de Janeiro, and also on ArtRio's online platform, from October 15th to 25th.
After participating in the previous editions of the fair presenting rare and historic works, for the first time at ArtRio, Bergamin & Gomide presents a stand composed mostly of contemporary artists.
Among the works are paintings, sculptures and an installation that communicate through organicity, abstraction and the resonance of colors; grouped together, composes the exhibition space creating a curious and dynamic dialogue.
Marcelo Cipis's (1959) work, Baunilhamada, is part of the 1996 Tambores series, which refers to the aesthetics of posters, in this case, a poster with a circulation of only one copy. The Drums have two-dimensional shapes, which, however, allude to a three-dimensional perspective with the creation of this illusory volume. The font used by Cipis, Helvetica, has Swiss origins, is considered one of the most important in design in the 20th century and was the subject of an exhibition at MoMA in 2007. The name Baunilhamada was inspired by French cuisine, specifically the crème brûlée, and according to Cipis, the most important dessert ingredient, vanilla!
The Alfabeto Doce series was created by Marcelo Cipis especially for ArtRio, based on the primary colors - yellow, red, blue and black - the shapes move from right to left, unlike our alphabet. Its objective was to create a kind of alphabet based on the geometric language, a new way of communicating through figures, characterized by the mobility to move freely through the abstract and the figurative, without coming into conflict.
The work of Pedro Caetano (1979) artist represented by the gallery is characterized by an iconography borrowed from the records of high and low culture, with acid and self-deprecating humor, the works reveal both reverence and irreverence in relation to the canons of art.
We present paintings and sculptures by the artist like Niemeyer (2018), it is a tribute to the city of Rio de Janeiro, where Pedro Caetano draws an analogy between the organic forms of the museum designed by architect Oscar Niemeyer and mushrooms - a recurring theme in his work - , inspired by the surfwear aesthetic. The works Resistência Clubber and Batata Doce (2018) come from a series of works that depict circular shapes, representing the first achievement in childhood of drawing practice, non-abstract and figurative forms, something that is between figuration and abstraction. Resistência Clubber also has references from a recent past, vinyl records and that kind of dark thing from the clubber days.
Tiago Mestre's work (1978) is directly linked to spatiality and sculptural aspects of art, the artist uses sculpture and installation to establish dialogues between space and object. The installation Paisagem: Duas Cachoeiras e Uma Fumaça (2020), by Tiago Mestre, is a sculptural mural, made of cast bronze, produced especially for ArtRio. In it, Mestre built a primordial landscape, a theater of creation, which although it does not have a conclusive narrative, puts on stage different elements of nature: the water that falls vigorously from the waterfalls (with its stones, rocks, waterfalls) and the rising smoke slowly creating a mutable and silent shape. The most expressive sense of the sculptural nature of this work is only fully understood in the relationship between approach and distance from the viewer, since it is in this movement that each of the elements of this rocky grammar truly gains expression and autonomy.
We also feature paintings by Tiago Mestre, which are a counterfield that feeds his research. Painting - like drawing - resides in a less programmatic and more playful place, a negotiation tool that allows the exercise of artistic thought and practice. The work Dope (2019), whose proposal initially starts from research in the sculptural field, exemplifies the unfolding of the reflection of the experience of the real from its personal sieve, where the continuous desire to make it both ambivalent and synthetic prevails.
The works by Camila Sposati (1972) selected for stand D4 are part of the Phonosophia series, an unfolding of her work entitled Teatro Anatômico da Terra, presented at the 3rd Bahia Biennial in 2014. In the series, Sposati proposes a listening exercise to the public through works that allude to musical instruments. The clay instruments refer to the structure of the theater and to a reflection on the amplification of the voice while drawing the relationships between sounds, their materiality and spirituality. Each instrument has three types of interconnected sense organs: mouth, ears and a chamber (force of gravity). They are instruments to be played from touch, a fundamental sense for ceramics. In Trompete Liber (2018), the artist created a sensory work: using clay as a material, it is composed of a circular chamber and three coupled pieces that, because they are connected, enable the sound amplification of the environment.
Giulia Puntel's painting (1992), The Days Are Simply Crowded (2020), dialogues with the series Jardim Elétrico, shown at the Matrioshka exhibition at Bergamin & Gomide. The works start from a fantastic place, almost suspended, a reality in which plants take on new shapes, colors and movements, which can cause a certain kind of strangeness. The movement of this nature portrayed in the series by Giulia Puntel expands so much, that at times it exceeds the space of the canvas, transforming the frames of the works into a kind of dance, alive and pulsating.
The sensorial condition and the subjective expression of Giulia Puntel's works overlap her formal ability with painting. The only hinted situations that arise in the artist's complex pictorial compositions suspend identities and easy naturalizations. The distorted figures and suggestive creatures on his canvases mesmerize those who find them.
Also exhibited was the untitled work (1981) by Amadeo Luciano Lorenzato (1900), an artist who painted landscapes, still lifes and scenes from places he visited, considered a modern and popular artist.
