A program of Cámara de Comercio de Bogotá
A cultural program of:
A program of Cámara de Comercio de Bogotá
A cultural program of:
The project proposed for ArtBO is divided into two parts: on the one hand, Sonia Andrade, a pioneering video art artist in Brazil, whose production dates back to the 1970s; on the other, Vanderlei Lopes, an exponent of contemporary Brazilian art, especially with regard to the statute of sculpture.
Andrade brings a perspective of the body to her works and is known for having her body in front of the cameras in the videos, which are almost like recorded performances. The same body that is filmed, in turn, becomes a tool to produce other media and work on other supports. In this session, we will present current and 70's works by Sonia Andrade, with a series of photographs, drawings, and videos.
Lopes presents new works, developed from his recent research, in which bronze sculptures appear to be small fragments of paper affixed to the wall as reminders, notes or images selected by the artist.
One of the main works highlights the tearing down of the monument of Sebastián de Belalcázar, a Spanish colonizer, which took place in the year 2021 in Cali, Colombia. From these images made available by local newspapers, Lopes created the work “Act of liberation”, which produces a profusion of reflections on colonizing processes.
The works in gouache on bronze - a material that refers to the sculptural tradition - fix transitory movements and create monuments. They shed light on the web of construction of reality through everyday objects without forgetting to mention historical processes.
Galeria Athena was founded in 2011 by Eduardo and Filipe Masini as an innovative space for the creation, discussion, and dissemination of contemporary art. More than an exhibition space, the gallery is considered a place of research, deepening of concepts, and artistic exchanges, always seeking innovative initiatives.
The gallery has established itself as one of the most outstanding in the Brazilian art scene, representing renowned and promising national and international artists, and investing in partnerships with curators and institutions to develop the careers of its artists.
The program of Galeria Athena is organized with the aim of freedom for all artistic action and its critical dialogue, helping the conceptual development, and the intellectual deepening of the artists and their productions in each exhibition.
Vanderlei Lopes artistic practice runs through an experimental trajectory with various materials that culminate in sculptures, objects, or daily stamped situations, transformed and perpetuated in materials such as gunpowder, gold, pottery, bronze, or sound. Lopes’ works articulate and problematize the various social and cultural environments in which they are inserted or for which they are thought. Notions about the process of socio-cultural construction as the language, actions, spatial relations about circulations, hierarchies, and other values – such as religion, heritage, and the market– are discussed in his works. The interest in temporality questions appears in constant fiction, providing mentions of specific historical distances but also the here-now. Vanderlei Lopes graduated in fine arts from Universidade Estadual Paulista (2000), and since 1990s features in exhibitions at various museums and galleries. Among his main group shows, we highlight: Bienal de Arte Paiz, Ciudad de Guatemala (2021); Mana Contemporary, Chicago (2019); Transparência e Reflexo, MuBE - Museu brasileiro da Escultura e da Ecologia (2016); Uma coleção particular - Arte Contemporânea no Acervo da Pinacoteca, Pinacoteca do Estado de São Paulo (2015); Nova Arte Nova, Centro Cultural Banco do Brasil, Rio de Janeiro and São Paulo (2008/2009). Among his main solo exhibitions we highlight: Newspapers, Art Basel Miami (2019); Domo, na Capela do Morumbi, São Paulo (2017); Grilagem, Museu de Arte Moderna - Rio de Janeiro (2014); Transitorio, Galeria Nueveochenta, Bogotá (2014); Cavalo, Galeria Marília Razuk, São Paulo (2013). Lopes was accomplished with the Pirelli prize at ArtRio 2016 and was indicated four times to the PIPA prize. He received the Proac prize in 2016. His works are included in important collections as MAM-SP – Museu de Arte Moderna de São Paulo; Pinacoteca do Estado de São Paulo, MAC-USP – Museu de Arte Contemporânea da Universidade de São Paulo; MAR-RJ - Museu de Arte do Rio de Janeiro; MAM-RJ - Museu de Arte Moderna do Rio de Janeiro; Instituto Cultural Itaú, São Paulo; Instituto Figueiredo Ferraz, Ribeirão Preto, among others.
Vanderlei Lopes artistic practice runs through an experimental trajectory with various materials that culminate in sculptures, objects, or daily stamped situations, transformed and perpetuated in materials such as gunpowder, gold, pottery, bronze, or sound. Lopes’ works articulate and problematize the various social and cultural environments in which they are inserted or for which they are thought. Notions about the process of socio-cultural construction as the language, actions, spatial relations about circulations, hierarchies, and other values – such as religion, heritage, and the market– are discussed in his works. The interest in temporality questions appears in constant fiction, providing mentions of specific historical distances but also the here-now. Vanderlei Lopes graduated in fine arts from Universidade Estadual Paulista (2000), and since 1990s features in exhibitions at various museums and galleries. Among his main group shows, we highlight: Bienal de Arte Paiz, Ciudad de Guatemala (2021); Mana Contemporary, Chicago (2019); Transparência e Reflexo, MuBE - Museu brasileiro da Escultura e da Ecologia (2016); Uma coleção particular - Arte Contemporânea no Acervo da Pinacoteca, Pinacoteca do Estado de São Paulo (2015); Nova Arte Nova, Centro Cultural Banco do Brasil, Rio de Janeiro and São Paulo (2008/2009). Among his main solo exhibitions we highlight: Newspapers, Art Basel Miami (2019); Domo, na Capela do Morumbi, São Paulo (2017); Grilagem, Museu de Arte Moderna - Rio de Janeiro (2014); Transitorio, Galeria Nueveochenta, Bogotá (2014); Cavalo, Galeria Marília Razuk, São Paulo (2013). Lopes was accomplished with the Pirelli prize at ArtRio 2016 and was indicated four times to the PIPA prize. He received the Proac prize in 2016. His works are included in important collections as MAM-SP – Museu de Arte Moderna de São Paulo; Pinacoteca do Estado de São Paulo, MAC-USP – Museu de Arte Contemporânea da Universidade de São Paulo; MAR-RJ - Museu de Arte do Rio de Janeiro; MAM-RJ - Museu de Arte Moderna do Rio de Janeiro; Instituto Cultural Itaú, São Paulo; Instituto Figueiredo Ferraz, Ribeirão Preto, among others.
Vanderlei Lopes artistic practice runs through an experimental trajectory with various materials that culminate in sculptures, objects, or daily stamped situations, transformed and perpetuated in materials such as gunpowder, gold, pottery, bronze, or sound. Lopes’ works articulate and problematize the various social and cultural environments in which they are inserted or for which they are thought. Notions about the process of socio-cultural construction as the language, actions, spatial relations about circulations, hierarchies, and other values – such as religion, heritage, and the market– are discussed in his works. The interest in temporality questions appears in constant fiction, providing mentions of specific historical distances but also the here-now. Vanderlei Lopes graduated in fine arts from Universidade Estadual Paulista (2000), and since 1990s features in exhibitions at various museums and galleries. Among his main group shows, we highlight: Bienal de Arte Paiz, Ciudad de Guatemala (2021); Mana Contemporary, Chicago (2019); Transparência e Reflexo, MuBE - Museu brasileiro da Escultura e da Ecologia (2016); Uma coleção particular - Arte Contemporânea no Acervo da Pinacoteca, Pinacoteca do Estado de São Paulo (2015); Nova Arte Nova, Centro Cultural Banco do Brasil, Rio de Janeiro and São Paulo (2008/2009). Among his main solo exhibitions we highlight: Newspapers, Art Basel Miami (2019); Domo, na Capela do Morumbi, São Paulo (2017); Grilagem, Museu de Arte Moderna - Rio de Janeiro (2014); Transitorio, Galeria Nueveochenta, Bogotá (2014); Cavalo, Galeria Marília Razuk, São Paulo (2013). Lopes was accomplished with the Pirelli prize at ArtRio 2016 and was indicated four times to the PIPA prize. He received the Proac prize in 2016. His works are included in important collections as MAM-SP – Museu de Arte Moderna de São Paulo; Pinacoteca do Estado de São Paulo, MAC-USP – Museu de Arte Contemporânea da Universidade de São Paulo; MAR-RJ - Museu de Arte do Rio de Janeiro; MAM-RJ - Museu de Arte Moderna do Rio de Janeiro; Instituto Cultural Itaú, São Paulo; Instituto Figueiredo Ferraz, Ribeirão Preto, among others.
With a pioneering video production in Brazil, Sonia Andrade had her artistic career boosted in the 1970s by the country's historical and artistic context. Together with a precursor group of video art, Andrade produced videos of high poetic and critical weight, which question the complex relationships between the modes of production, circulation, mediation, reception and commercialization, keeping themselves semantically up-to-date. In the films, the way the artist stands in front of the camera stands out, starring with her body the performances whose immediate audience is only the camera's gaze. However, her production is not limited to video art, but adds a multiplicity of media and subjects expressed by the artist in experiments from different perspectives: Andrade goes from drawing to writing, from the appropriation of objects to photography, from postcards to post-art, from projection of the image to the installation, among others. The total set of works by the artist reveals the multiple layers of meaning that are obtained from each work individually. The ethical-political dimension, of the enigma of time and of the episodic and relational character, become evident. Sonia Andrade has works in public collections of important institutions such as Centre Pompidou (Paris, France), Getty Research Institute (Los Angeles, USA), Haward Art Museum (Boston, USA) and Kunstgewerbemuseum (Zurich, Switzerland). The solo exhibitions already presented include: 2011 - Retrospectiva 1974/1993 (Centro Municipal de Arte Hélio Oiticica – Rio de Janeiro, Brazil); 2010 - Sonia Andrade: Vídeos (Oi Futuro – Rio de Janeiro, Brazil); 2005 - Conjunto de cinco vídeo instalações (Centro Cultural Banco do Brasil - Rio de Janeiro, Brazil); 2001 - Exposição individual: vídeo instalação (Paço Imperial - Rio de Janeiro, Brazil); 1999 - Olimpo, Périplo, Apolo, Vênus e Noturno (Museu de Arte Moderna do Rio de Janeiro - Rio de Janeiro, Brazil); 1994 - Hydragrammas (Museu de Arte Contemporânea da Universidade de São Paulo - São Paulo, Brazil); 1984 - Situações Negativas: o passo, o salto, a queda (Museu de Arte Moderna do Rio de Janeiro - Rio de Janeiro, Brazil); 1978 - A Caça (Museu de Arte Moderna do Rio de Janeiro - Rio de Janeiro, Brazil). Among her main group exhibitions are: 2018 - Identity and alterity: shifting representations (Kanal Centre Pompidou - Brussels, Belgium); 2017 - Video Art in Latin America: Selections from Brazil (Rubell Family Collection - Miami, USA); 2016 - 32ª Bienal de São Paulo – INCERTEZA VIVA (Pavilhão Ciccillo Matarazzo - São Paulo, Brazil); 2006 - Corps Étrangers (Musée du Louvre - Paris, France); 2001 - B & N y de color, latinoamérica: cine, vídeo y multimedia (Museo Nacional Centro de Arte Reina Sofía - Madrid, Spain); 1993 - Vídeoarte, Brasil: pioneiros (Centro Cultural Banco do Brasil - Rio de Janeiro, Brazil); 1981 - Video from Latin America (Museum of Modern Art - New York, USA); 4ème manifestation internationale de livres d’artiste/livres/objects (Centre George Pompidou - Paris, France).
With a pioneering video production in Brazil, Sonia Andrade had her artistic career boosted in the 1970s by the country's historical and artistic context. Together with a precursor group of video art, Andrade produced videos of high poetic and critical weight, which question the complex relationships between the modes of production, circulation, mediation, reception and commercialization, keeping themselves semantically up-to-date. In the films, the way the artist stands in front of the camera stands out, starring with her body the performances whose immediate audience is only the camera's gaze. However, her production is not limited to video art, but adds a multiplicity of media and subjects expressed by the artist in experiments from different perspectives: Andrade goes from drawing to writing, from the appropriation of objects to photography, from postcards to post-art, from projection of the image to the installation, among others. The total set of works by the artist reveals the multiple layers of meaning that are obtained from each work individually. The ethical-political dimension, of the enigma of time and of the episodic and relational character, become evident. Sonia Andrade has works in public collections of important institutions such as Centre Pompidou (Paris, France), Getty Research Institute (Los Angeles, USA), Haward Art Museum (Boston, USA) and Kunstgewerbemuseum (Zurich, Switzerland). The solo exhibitions already presented include: 2011 - Retrospectiva 1974/1993 (Centro Municipal de Arte Hélio Oiticica – Rio de Janeiro, Brazil); 2010 - Sonia Andrade: Vídeos (Oi Futuro – Rio de Janeiro, Brazil); 2005 - Conjunto de cinco vídeo instalações (Centro Cultural Banco do Brasil - Rio de Janeiro, Brazil); 2001 - Exposição individual: vídeo instalação (Paço Imperial - Rio de Janeiro, Brazil); 1999 - Olimpo, Périplo, Apolo, Vênus e Noturno (Museu de Arte Moderna do Rio de Janeiro - Rio de Janeiro, Brazil); 1994 - Hydragrammas (Museu de Arte Contemporânea da Universidade de São Paulo - São Paulo, Brazil); 1984 - Situações Negativas: o passo, o salto, a queda (Museu de Arte Moderna do Rio de Janeiro - Rio de Janeiro, Brazil); 1978 - A Caça (Museu de Arte Moderna do Rio de Janeiro - Rio de Janeiro, Brazil). Among her main group exhibitions are: 2018 - Identity and alterity: shifting representations (Kanal Centre Pompidou - Brussels, Belgium); 2017 - Video Art in Latin America: Selections from Brazil (Rubell Family Collection - Miami, USA); 2016 - 32ª Bienal de São Paulo – INCERTEZA VIVA (Pavilhão Ciccillo Matarazzo - São Paulo, Brazil); 2006 - Corps Étrangers (Musée du Louvre - Paris, France); 2001 - B & N y de color, latinoamérica: cine, vídeo y multimedia (Museo Nacional Centro de Arte Reina Sofía - Madrid, Spain); 1993 - Vídeoarte, Brasil: pioneiros (Centro Cultural Banco do Brasil - Rio de Janeiro, Brazil); 1981 - Video from Latin America (Museum of Modern Art - New York, USA); 4ème manifestation internationale de livres d’artiste/livres/objects (Centre George Pompidou - Paris, France).
With a pioneering video production in Brazil, Sonia Andrade had her artistic career boosted in the 1970s by the country's historical and artistic context. Together with a precursor group of video art, Andrade produced videos of high poetic and critical weight, which question the complex relationships between the modes of production, circulation, mediation, reception and commercialization, keeping themselves semantically up-to-date. In the films, the way the artist stands in front of the camera stands out, starring with her body the performances whose immediate audience is only the camera's gaze. However, her production is not limited to video art, but adds a multiplicity of media and subjects expressed by the artist in experiments from different perspectives: Andrade goes from drawing to writing, from the appropriation of objects to photography, from postcards to post-art, from projection of the image to the installation, among others. The total set of works by the artist reveals the multiple layers of meaning that are obtained from each work individually. The ethical-political dimension, of the enigma of time and of the episodic and relational character, become evident. Sonia Andrade has works in public collections of important institutions such as Centre Pompidou (Paris, France), Getty Research Institute (Los Angeles, USA), Haward Art Museum (Boston, USA) and Kunstgewerbemuseum (Zurich, Switzerland). The solo exhibitions already presented include: 2011 - Retrospectiva 1974/1993 (Centro Municipal de Arte Hélio Oiticica – Rio de Janeiro, Brazil); 2010 - Sonia Andrade: Vídeos (Oi Futuro – Rio de Janeiro, Brazil); 2005 - Conjunto de cinco vídeo instalações (Centro Cultural Banco do Brasil - Rio de Janeiro, Brazil); 2001 - Exposição individual: vídeo instalação (Paço Imperial - Rio de Janeiro, Brazil); 1999 - Olimpo, Périplo, Apolo, Vênus e Noturno (Museu de Arte Moderna do Rio de Janeiro - Rio de Janeiro, Brazil); 1994 - Hydragrammas (Museu de Arte Contemporânea da Universidade de São Paulo - São Paulo, Brazil); 1984 - Situações Negativas: o passo, o salto, a queda (Museu de Arte Moderna do Rio de Janeiro - Rio de Janeiro, Brazil); 1978 - A Caça (Museu de Arte Moderna do Rio de Janeiro - Rio de Janeiro, Brazil). Among her main group exhibitions are: 2018 - Identity and alterity: shifting representations (Kanal Centre Pompidou - Brussels, Belgium); 2017 - Video Art in Latin America: Selections from Brazil (Rubell Family Collection - Miami, USA); 2016 - 32ª Bienal de São Paulo – INCERTEZA VIVA (Pavilhão Ciccillo Matarazzo - São Paulo, Brazil); 2006 - Corps Étrangers (Musée du Louvre - Paris, France); 2001 - B & N y de color, latinoamérica: cine, vídeo y multimedia (Museo Nacional Centro de Arte Reina Sofía - Madrid, Spain); 1993 - Vídeoarte, Brasil: pioneiros (Centro Cultural Banco do Brasil - Rio de Janeiro, Brazil); 1981 - Video from Latin America (Museum of Modern Art - New York, USA); 4ème manifestation internationale de livres d’artiste/livres/objects (Centre George Pompidou - Paris, France).
