ArtRio 2020

For ArtRio 2020, Galeria Millan presents a set of works that reunites a variety of media, techniques and proposals, covering paintings, sculptures, installations and two video works. Even with a predominance of more recent productions, the selection includes some historical works, whose production processes date back to the 1970s. This is the case, for example, with the series My Heterodox Drawings (1972-2018), by the artist Artur Barrio. From records and descriptions of ideas, events and daily movements, the artist has consolidated a significant part of his production based on the attempt to highlight what is left of the experience, the fragments of the action lived. The paper as a medium was also used by Dudi Maia Rosa in the selection of watercolors to be presented at the fair. The artist uses such material and technique to awaken a pictorial discussion, also present in his most recent works in resin and glass, which point to a poetic density of representation. The set unfolds yet in a selection of recent paintings. Among them are works by artists whose trajectories reveal innovative movements within the same pictorial territory, such as Paulo Whitaker, Paulo Pasta and Rodrigo Andrade. Also present, paintings by artists who are technically hybrid in their trajectories are in the selection: Henrique Oliveira, Tatiana Blass and David Almeida, who move in a singular way between the universes of the organic and the fantastic. In the productions of Ana Prata, the field of discussion about representation and creation is broadened, as in Galáxia (2020), by Prata, where what we see are sometimes components of an earthly universe, sometimes an autonomous abstraction. In this same segment, Noite de onça preta (2020), a work from the Animal crepuscular series, by Thiago Martins de Melo, a pictorial construction that announces the symbolic transformation of a common imaginary, from the choice of intense tones and gestures. The pieces by Túlio Pinto, Felipe Cohen and José Damasceno add to the selection a dimensional and sensorial discussion of the materials. Pinto’s provocation in the eyes of those who observe the play of resistance between steel and glass in Linha de terra #4 (2013) is also present in the interaction with the creation of a television from crayon in Monitor Crayon (2019), by Damasceno. With Tunga, in the work Afinidade Eletivas - Miniatura monumental - Joia (2002), and Anna Maria Maiolino, from the Novas Marcas da Gota: 01 series (2003), we find a thematic fitting that refers to the common vocabulary to the artists’ productive trajectories. It is the proposition of a dialogue with the space that the whole is then completed. When observing Emmanuel Nassar’s illustrated metal plates, the observer feels unable to abstract from the place where he is and to which he is being transported. Nelson Felix, an artist who walks in an interdisciplinary field of artistic making, takes the space as a place of enunciation and poetic crossing. An unprecedented installation by the artist will be finished especially for the occasion.