ART BASEL HONG KONG 2017. BOOTH 1D43
ALBANO AFONSO SÃO PAULO, 1964 LIVES AND WORKS IN SÃO PAULO, BRAZIL Albano Afonso, born in São Paulo, Brazil in 1964, will also present a new series that originally integrates Art History, contemporary photography and new technologies. The artist set-ups modern still-life, photographs them and digitally manipulates the result to resemble an old master painting. The core of Afonso production has been the relationship of photography and painting and how images are materialized. These works are essentials to comprehend his production, which was the recent object of a survey in concomitant exhibitions at the 21C Museum and at the Contemporary Art Center in Cincinnati, USA.
Albano Afonso da série Natureza-Morta [from the series Still Nature], 2016 photography Ed.: 3/3 95 x 135 cm
Albano Afonso da série Natureza-Morta [from the series Still Nature], 2016 photography Ed.: 1/3 95 x 135 cm
EDUARDO BERLINER RIO DE JANEIRO, BRAZIL, 1978 LIVES AND WORKS IN RIO DE JANEIRO, BRAZIL Eduardo Berliner, born in Rio de Janeiro, Brazil, in 1977, is one of the best talents of the new generation of painters in Brazil. Berliner s paintings portray a state of uncertainty and doubt, in which the connection between elements on a same canvas as well as between the works themselves echoes the way information is absorbed throughout the years and how memory rearranges, connects and transforms the subject, even creating new relations that were not initially there. Berliner claims his intention is not to determine a specific meaning to each work or the whole group, but to make space to analyze the complexity of relations and its distortions produced in our memories. The group of works selected for Art Basel Hong Kong, delve into the complexity of associations and procedures present in the artists s oeuvre, a presentation similar to the ones investigated in his remarkable participation at the 30th São Paulo Biennial in 2012 and in his recent solo show at Casa Triângulo.
Eduardo Berliner Cabeça e ombro [Head and Shoulder], 2016 160 x 130 cm
Eduardo Berliner Untitled, 2016 80 x 80 cm Eduardo Berliner Elefante [Elephant], 2016 26,5 x 18,5 cm
Eduardo Berliner Cabelo verde [Green hair], 2016 200 x 150 cm
Eduardo Berliner Bicada [Peck], 2016 oil and collage on paper 108 x 78 cm Eduardo Berliner Falta de ar [ Shortness of breath], 2016 60 x 40,5 cm
Eduardo Berliner Cinzas [Ashes], 2016 80 x 80 cm Eduardo Berliner Forca, 2016 79,5 x 70 cm
Eduardo Berliner Patos [Ducks], 2016 80 x 80 cm
Eduardo Berliner Roedor [Rodent], 2016 40 x 40 cm
Eduardo Berliner Beringela [Eggplant], 2016 32 x 30 cm
Eduardo Berliner Filhote [Cub], 2016 25,5 x 20 cm Eduardo Berliner Buraco [Hole], 2016 23,5 x 15,5 cm
Eduardo Berliner Melão [Melon], 2016 25 x 22 cm Eduardo Berliner Romã [Pomegranate], 2016 30 x 22 cm
Eduardo Berliner Coelho [Rabbit], 2016 58 x 53 cm Eduardo Berliner Capa de chuva 2 [Raincoat 2], 2016 16 x 10 cm
Eduardo Berliner Marionete [Puppet], 2016 80 x 80 cm
SANDRA CINTO SANTO ANDRÉ, BRAZIL, 1968 LIVES AND WORKS IN SÃO PAULO, BRAZIL Sandra Cinto started working in the early 1990s and is currently one of the leading names in Brazilian contemporary art. She has been using drawing as a starting point to the creation of landscapes that evoke narratives of redemption and serve as metaphors of the human odyssey. Her new body of work, which inaugurated Casa Triângulo s new space and also celebrated 25 years of the gallery-artist partnership, is the outcome of a 60 days period in Japan: invited by Aomori Art Center, the artist deepened her research on Eastern Art and its influence on the West. The central pieces in the booth are vertical paintings from the series entitled Chance and Necessity. As Laura Colkitt recently pointed: To produce the works, Cinto first spilled thinned blue acrylic paint onto stretched watercolor canvases. She then lifted and tilted the canvases to let the wash flow freely, before drying in place. Cinto gradually built up the pigment layer by layer, increasing the hue s depth with the progressive addition of color. Interestingly, the distinct process became imprinted on the surface: the undulating water swells remain recognizable as the movement of the cerulean liquid is permanently emblazoned on the canvas. An abstracted representation of a large body of water, reminiscent of an ocean or a waterfall, results. The watery layers become both the signified and the referent, they stand for the concept of water while simultaneously acting as a physical trace of the element While Cinto may have influenced its direction, the chaotic process ultimately generated the marks. Due to the uncontrollable and unrepeatable process, the oscillating water represents the randomness of chance. Necessity also presents in the artworks. After letting the acrylic washes dry, Cinto then utilized black pen to draw in a myriad of exceedingly restrained fine lines on the surface. The artist outlined and filled the dense forms with thousands of varied and swift marks, precisely spaced apart, implying volume. The micro marks give rise to forms that function on a macroscale. It is as if every painstakingly rendered line acts as a constituent atom, ultimately encompassing a larger whole. The ensuant objects are evocative of rocks, islands, or boulders that ground the composition. The lines necessitate complete control within parts of the composition. Cinto s works have been exhibited widely in many important institutions, such as the Museu de Arte Moderna, São Paulo; Olympic Sculpture Park Pavillion of the Seattle Art Museum, Seattle; Centre Georges Pompidou, Paris, and others, as well as the XIV Bienal de São Paulo, curated by Paulo Herkenhoff. The artist s works are featured in significant public collections, including The Phillips Collection, Washington; Museum of Modern Art, New York; Centro Atlántico de Arte Moderna, Canary Islands; Inhotim Centro de Arte Contemporânea, Brumadinho; Museu de Arte Moderna/Coleção Gilberto Chateaubriand, Rio de Janeiro; Institute of Contemporary Art, Boston; among others.
Sandra Cinto Untitled, from the series Chance and Necessity, 2017 acrylic and permanent pen on canvas edition: unique 150 x 70 cm
Sandra Cinto Untitled, from the series Chance and Necessity, 2017 acrylic and permanent pen on canvas edition: unique 150 x 70 cm
Sandra Cinto Untitled, from the series Chance and Necessity, 2017 acrylic and permanent pen on canvas edition: unique 150 x 70 cm
Sandra Cinto Untitled, from the series Chance and Necessity, 2017 acrylic and permanent pen on canvas edition: unique 150 x 70 cm
ASCÂNIO MMM FÃO, PORTUGAL, 1941 LIVES AND WORKS IN RIO DE JANEIRO, BRAZIL Ascânio MMM is one of the key artists in the trajectory of geometric abstraction in Latin America, with almost ve decades of production and is still active nowadays. All of his sculptures are built on the principles of Mathematics, and the artist has never done a single gurative work. In 2016, parallel to the São Paulo Biennial, Casa Triângulo presented a survey exhibition of the artist, investigating his artistic production from the 1960s onwards, which has recently been the object of study and critical analysis in the book Ascânio MMM - Poetics of Reason, written by Paulo Herkenhoff: To Ascânio, sculpture not only leaves the arithmetic operations of multiplication, division, addition and subtraction implicit, but also acts as the engine that moves the Number poetically. It considers the number one and its modular multiple. In place of actual numbers, the reduction in the physical and visual weight the less in Mies results in an imagined aesthetic. (Pg. 64) The works presented at Art Basel Hong Kong date from 1969 and are seminal to his artistic production. Ascânio s works are featured in institutions such as the Museo de Arte Contemporáneo de Buenos Aires, Pinacoteca do estado de São Paulo and Museu de Arte Moderna do Rio de Janeiro, among others. His public works can be seen in many cities, such as Rio de Janeiro, São Paulo, Tokyo and Lisbon. The artist has exhibited extensively since the 1960s, including two editions of the Bienal de São Paulo (1967, 1979), Fundação Calouste Gulbekian, Lisbon; Barbican Center, London; Museu de Arte do Rio, Rio de Janeiro; among others.
Ascânio MMM Triângulos 2, 1969-2009 painted wood ed.: 3/5 100 x 100 x 12 cm
Ascânio MMM Triangulares 1, 1969-2010 painted wood ed.: 2/5 167 x 56 x 12 cm