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Open a larger version of the following image in a popup: Jac Leirner, Numbers From Blue Phase, 1995 Photo: Edouard Fraipont
Open a larger version of the following image in a popup: Jac Leirner, Numbers From Blue Phase, 1995

Jac Leirner

Numbers From Blue Phase, 1995
Cédulas grafitadas, entretela e nylon [Graffited banknotes, interlace, and nylon]
51 x 80 cm [20 x 31 3/8 in.]
JAC-0043
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[EN] In the second half of the 1980s and early 1990s, when inflation was at its highest in Brazil's history, Jac Leirner accumulated thousands of the smallest banknotes at the...
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[EN]

In the second half of the 1980s and early 1990s, when inflation was at its highest in Brazil's history, Jac Leirner accumulated thousands of the smallest banknotes at the time of the national monetary standard. As the Central Bank of Brazil withdrew them from circulation, they were incessantly discarded. Leirner interrupted this process and started collecting them, a gesture that structured some of her series from this period, such as Os cem [The hundred] (1986-1987), Todos os cem [All hundred] (1992-1998) and Números da fase azul [Numbers from the blue phase] (1991-1998).

In reference to the predominant color of the cruzado banknotes - and also an indirect reference to Pablo Picasso's blue phase - Leirner created Numbers From Blue Phase (1995), a materialization made by dissolving the original functions of the banknotes. This gesture exposes the dissolution of some of the bonds that holds a society together, and the artist figures as an agent who makes visible this object loaded with ephemerality and social agreements that are no longer in force.

[PT]

Na segunda metade da década de 1980 e início da década de 1990, período da maior variação inflacionária da história do Brasil, Jac Leirner acumulou milhares de notas das menores cédula à época do padrão monetário nacional. Com a retirada da circulação por parte do Banco Central do Brasil, eram incessantemente descartadas. Leirner interrompe esse processo e passa a colecioná-las, gesto estruturante para algumas de suas séries desse período, como Os cem (1986-1987), Todos os cem (1992-1998) e Números da fase azul [Numbers from the blue phase] (1991-1998).

Em referência à cor predominante nas cédulas do cruzado - e também uma referência indireta à fase azul de Pablo Picasso - Leirner cria Numbers From Blue Phase (1995), uma materialização feita a partir da dissolução das funções originais das cédulas monetárias. Esse gesto expõe a dissolução de alguns dos laços que mantém coesa uma sociedade, e a artista figura como uma agente que torna visível esse objeto carregado de efemeridade e de acertos sociais que não mais vigoram.
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