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"Featuring the work of twenty artists, this bilingual volume includes several artists' writings ... about artist-run exhibition spaces"--P. [4] of cover.
The current publication, entitled Folksonomies, sets out the contents of a selection of works I have done lately and it recounts its exhibit walkthrough, organized on the basis of two individual projects which run parallel throughout 2016. One of them relates to the works arising from my interest in Big Data and which is composed of different accounts with works in painting, mural installation and drawing. It is the project I have called Sombras_Big_Dat@. The second Project is about my activity around engraving, silk screen printing and digital printing which I have named 32 bits_memoria_grafica. The book is thus structured in two parts, starting with the Sombras_Big_Dat@ project and specifically, its showing at the Salamanca Museum, as I have shown here the set of works which comprise the project in the best conditions of space and illumination, which afforded us to collect some interesting photographic scenes on site and views of works which render quite an accurate idea of the jobs I have done. The second part of this publication documents the exhibition called 32_bits_memoria_grafica, with works in engraving and printed work. Throughout my career, creating projects with these means has been and still is crucial: not only does it complement the creative activity I do with other disciplines, but it also provides me with other channels for my thoughts and presentation of ideas. The council of the Arts Engraving Museum chose my project and I was offered a chance to show a walkthrough of several years of activity which I structured on the basis of eight thematic axes: Energies, Presences, Dialogs, Silences, Places and territories, Echos and appearances, Human schemes and Dream landscapes, around which 32 works spin, executed with chalcographic engraving, digital printing and silk screen printing. The set of works grouped in such fashion composed a remarkable atmosphere which contributed to the understanding and tuning in with the works and their crossed meanings.
Art produced outside hegemonic centers is often seen as a form of derivation or relegated to a provisional status. Forming Abstraction turns this narrative on its head. In the first book-length study of postwar Brazilian art and culture, Adele Nelson highlights the importance of exhibitionary and pedagogical institutions in the development of abstract art in Brazil. By focusing on the formation of the São Paulo Biennial in 1951; the early activities of artists Geraldo de Barros, Lygia Clark, Waldemar Cordeiro, Hélio Oiticica, Lygia Pape, and Ivan Serpa; and the ideas of critics like Mário Pedrosa, Nelson illuminates the complex, strategic processes of citation and adaption of both local and international forms. The book ultimately demonstrates that Brazilian art institutions and abstract artistic groups—and their exhibitions of abstract art in particular—served as crucial loci for the articulation of societal identities in a newly democratic nation at the onset of the Cold War.