Monthly Archives: March 2012

Iran do Espírito Santo at Sean Kelly Gallery

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Iran do Espirito Santo, Switch, 2012, latex paint on wall, dimensions variable. © Iran do Espírito Santo; Photography: Jason Wyche, New York; Courtesy: Sean Kelly Gallery, New York.

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Iran do Espirito Santo, installation view of Switch at Sean Kelly Gallery, New York. © Iran do Espírito Santo; Photography: Jason Wyche, New York; Courtesy: Sean Kelly Gallery, New York.

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Iran do Espirito Santo, installation view of Switch at Sean Kelly Gallery, New York. © Iran do Espírito Santo; Photography: Jason Wyche, New York; Courtesy: Sean Kelly Gallery, New York.

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Iran do Espirito Santo, installation view of Switch at Sean Kelly Gallery, New York. © Iran do Espírito Santo; Photography: Jason Wyche, New York; Courtesy: Sean Kelly Gallery, New York.

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Iran do Espirito Santo, Untitled (Folded Mirror 12), 2011, mirror, 73 x 127 1/4 x 83 inches. © Iran do Espírito Santo; Photography: Jason Wyche, New York; Courtesy: Sean Kelly Gallery, New York.

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Iran do Espirito Santo, Untitled (Folded Mirror 12) - detail, 2011, mirror, 73 x 127 1/4 x 83 inches. © Iran do Espírito Santo; Photography: Jason Wyche, New York; Courtesy: Sean Kelly Gallery, New York.

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Opening on March 21st at Sean Kelly Gallery in New York, Iran do Espirito Santo’s Switch solo exhibition continues the Brazilian artist’s concerns with materiality and its play with surface, minimalism and the enigmatic.  The black and white exhibition consists of 3 distinct works:  latex wall paintings, that confound the viewer in its elegant geometry and optical glow; marble objects, titled Globes, that blur the line between utilitarian, artefact and art objects; and the Untitled – Folded Mirrors series, large scale black mirrors  that lean on the gallery walls and floor, folded in geometric angles.  Espirito Santo’s work finds common grounds between function vs. the sublime; the sheer elegance of his objects attest to the seductive play between pristine surfaces and texture and the unknown.

 

Peter Buechler

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Peter Buechler at ESPASSO NY. Photo by Eliseu Cavalcante.

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Peter Buechler, Untitled, 2011, oil on canvas, 220 x 300 cm

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Peter Buechler, Untitled, 2012, oil on canvas, 200 x 300 cm

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Peter Buechler at ESPASSO NY. Photo by Eliseu Cavalcante.

Photos: 1 / 2 / 3 / 4

In partnership with Berlin gallery Morgen Contemporary, ESPASSO NY is pleased to feature works by German artist Peter Buechler.  Two atmospheric large scale oil paintings flank the showroom’s entrance, and depict empty moody interiors rendered in the artist’s signature painting approach that re-imagines the works’ original source imagery in a technique reminiscent of a contemporary interpretation of the Pointilism tradition, Pixelism?. In a painstaking  process, the artists mixes the color for each ‘pixel’ of the painting individually; En masse, abstracted when looking at the piece up close, the figuration of the work starts emerging when the viewer steps back from the work. In addition to the history of German painting, pointilism and op art, the effect of the work also pays heed to digital imaging/compositions.

 

Sergio Rodrigues ESPASSO LA shop in shop

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The West Coast’s first Sergio Rodrigues shop-in-shop, featuring a full range of furniture by the iconic Brazilian designer, including an extensive selection of re-editions

 Public Opening: Tuesday, March 20, 2012

ESPASSO is pleased to announce the opening of its new Sergio Rodrigues shop-in-shop in the Los Angeles, California gallery on Tuesday, March 20th.  The shop will be the only store in the country, alongside ESPASSO’s New York location, that sells authentic re-editions of the iconic Brazilian designer’s celebrated furniture. This will be the second Sergio Rodrigues collaboration under the direction of ESPASSO owner and curator Carlos Junqueira. The opening coincides with WestWeek, Pacific Design Center’s world-renowned weeklong design trade event, featuring lectures, showroom programs, product introductions, and book signings, attracting thousands of design professionals.

Located inside ESPASSO’s Los Angeles gallery at 8687 Melrose Avenue, the new shop-in-shop will feature many of Sergio’s most well known pieces, including the Mole armchair, made of wood and upholstered leather cushions supported by leather straps, reflecting his playfulness and wit; the Diz chair, marked by organic undulating lines and a sculptural aesthetic; and the graceful Kilin chair, constructed of a single piece of leather on a wood frame. The range will include sofas, chairs, lighting, stools, and sideboards.

“Sergio Rodrigues is considered the ‘father of Brazilian furniture’, and has been an inspiration to so many of the designers who we work with,” said ESPASSO’s owner and curator Carlos Junqueira. “His furniture represents Brazil in many ways – relaxed, comfortable, sensual and humorous, yet sophisticated and contemporary. It is a privilege to be the first to showcase his work in a dedicated space, and through our re-editions, make many of his pieces available to a wider audience for the first time.”

The shop marks a return to the West Coast for Sergio Rodrigues after 40 years, having opened Oca showroom in the late 1960s in Camel, California.  Rodrigues was born in Rio de Janeiro in 1927. In 1955, he established Oca, which he referred to as ‘a laboratory for Brazilian furniture and handcrafts’.  Amongst his most well known works are furniture designed for the Brazilian Embassy in Rome, for UNB (Brasília University) and the Teatro Nacional (the National Theater in Brasília), as well as his collaborations with Oscar Niemeyer, as the latter’s interior designer of choice for his buildings in Brasilia. He is widely credited for establishing a new paradigm in design, and creating what has become a recognizable Brazilian furniture identity through the creation of iconic pieces of furniture using robust woods like jacaranda, peroba and imbuia.

All images by ESPASSO.

90-year anniversary of ‘Semana de 22’

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Tarsila do Amaral, Aboporu, 1928
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In February of 1922 the Semana de Arte Moderna de 1922 officially launched Brazil’s Modern movement in a multi-discplinary week-long event at the Teatro Municipal in São Paulo. Establishing a new cultural critical approach, the event united Brazil’s intelligentsia in the arts to articulate new concepts and strategies for national cultural production. The Semana de 22 included luminaries like painters Tarsila do Amaral, Anita Malfatti and DiCavalcanti, writers Mario de Andrade and Manuel Bandeira, and musical composer Heitor Villa-Lobos. A Semana de 22, as it is commonly known, gave way to Oswald de Andrade’s seminal  Manifesto Antropofágico (1928), the Movimento Pau-Brasil (1924) and the Grupo Anta (1930).  These figures and movements reclaimed historical instances in Brazil’s early colonial history to identify Brazilian cultural identity as an autonomous force in reaction to the concurrent European paradigms.  As one of the most important markers in Brazilian cultural history of the 20th century, the Semana de 22 later informed various fundamental cultural movements in Brazil, such as Tropicália in the 1960’s, and Lírio Paulistano in the 1970’s.  The legacy of the Semana de 22 remains  relevant, fresh and an inspirational reference both  in Brazil and abroad.

Image credits: Catalogue for Semana 22 cover art by Emiliano DiCavalcanti; Modernists Mário de Andrade, Rubens Borba de Moraes, Tácito, Baby, Mário de Almeida, Guilherme de Almeida e Yan de Almeida Prado; Tarsila do Amaral, Aboporu, 1928.

IDEAT – March 2012

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The Armory Show

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The New York art scene is once again abuzz due to the 14th installment of the New York Armory Art Fair. Award winning NY architectural firm Bade Stageberg Cox has redesigned the exhibition space this year – at piers 92 and 94 – as the Armory Focus showcased art from Nordic Countries, with a lively poster installation that offered free posters for the public. The fair this year also featured commissioned artwork by Theaster Gates.  Brazilian galleries Luciana Brito and Nara Rosler had dynamic booths showcasing some of the most interesting art around.  At the booth of Galeria Nara Roesler, Raul Mourão’s geometric wall work offered a playful and interactive read of minimalism, while at Brito’s booth, the large scale painting by Delson Uchôa called attention to the artisan nature of textile and poster assemblage with the work’s material and palette . In addition to an in situ performance by Marina Abromovic, performed by a stand-in, and a lovely 1960’s piece by Geraldo de Barros, Brito’s booth showed a range in both genre and time span, exemplary of the gallery’s international and interdisciplinary scope. .

Image credits: Installation view of Delson Uchôa’s work; Cristiana Mascarenhas, Ricardo and Adriana Malfitano, Marcia Grostein and Carlos Junqueira. Photos by Eliseu Cavacanti.