A program of Cámara de Comercio de Bogotá
A cultural program of:
A program of Cámara de Comercio de Bogotá
A cultural program of:
Central Galeria's proposal for artbo 2022 is “Time in suspension”; a reflection on the non-linearity of time through the works of Gabriela Mureb, Rodrigo Martins and Simone Cupello.
The production of Mureb, artist that participated in the 5th Triennial of the New Museum "Soft Water Hard Stone" - and whose title of the exhibition comes from one of his works, evokes borderline experiences of the body and language, from compulsively repeated movements.
On the stand, there are also small paintings by Rodrigo Martins. Stones, plants and found objects are some of the subjects portrayed in his works that move us to an indeterminate temporal space.
Finally, appropriate and sculpted photographs used as material by artist Simone Cupello, contemplate the idea of memory and nostalgia, however, without allowing us to establish a relationship with the images of the photos, but only the memory of it.
Central celebrates creativity, tolerance, and diversity. We strive to be an inclusive space, both online and offline.
We are committed to spreading and nurturing reflections on contemporary art, both in Brazil and internationally, serving as the stage for experimentations and relevant discussions, both through proposals made by the team of artist in their work and research and through debates raised by guest curators at collective and individual exhibitions.
The artists Central represents have poetics that orbit in the universe of architecture and the relationship with city and landscape. We offer a space to explore current issues through art, democratizing access to artistic production and the questions that it proposes. We aim to be a platform for national and international projection of Brazilian artists’ careers who are represented in the art market and cultural institutions and assist them in their development of these poetics.
Performances, videos, machines, sounds, and noise are some of the forms that Gabriela Mureb’s works assume in order to evoke borderline experiences of body and language, from compulsively repeated movements. Gabriela Mureb has a doctorate degree in Visual Languages from UFRJ, and currently teacher in the Department of Visual Arts-Sculpture at UFRJ. Her solo exhibitions include: Rrrrrrrrrr, Central Gallery (São Paulo, SP, 2017); Corpos Dóceis, A Gentil Carioca (Rio de Janeiro, RJ, 2009). Her group exhibitions include: Quando o Tempo Aperta, curated by Raphael Fonseca, product of the Marcantonio Vilaça Prize 2015; Aparição, Caixa Cultural (Rio de Janeiro, RJ, 2015); Convite à Viagem, Itaú Cultural (São Paulo, SP, 2012) and Imperial Palace ( Rio de Janeiro, RJ, 2013) and Espelho Refletido - O Surrealismo e a Arte Contemporânea Brasileira, Municiple Center of Art of Hélio Oiticica ( Rio de Janeiro, RJ, 2012). The artist was also invited to the performance festivals of Queer Zagreb (2012) and Queer NY (2013). The awards, scholarships, and residencies in which she participated include: Programa Rumos Artes Visuais 2011-2013; 65º Salão de Abril, Banco do Nordeste Cultural Center (Ceará, 2014). Her work is in the collection of the Museu de Arte do Rio (MAR).
Performances, videos, machines, sounds, and noise are some of the forms that Gabriela Mureb’s works assume in order to evoke borderline experiences of body and language, from compulsively repeated movements. Gabriela Mureb has a doctorate degree in Visual Languages from UFRJ, and currently teacher in the Department of Visual Arts-Sculpture at UFRJ. Her solo exhibitions include: Rrrrrrrrrr, Central Gallery (São Paulo, SP, 2017); Corpos Dóceis, A Gentil Carioca (Rio de Janeiro, RJ, 2009). Her group exhibitions include: Quando o Tempo Aperta, curated by Raphael Fonseca, product of the Marcantonio Vilaça Prize 2015; Aparição, Caixa Cultural (Rio de Janeiro, RJ, 2015); Convite à Viagem, Itaú Cultural (São Paulo, SP, 2012) and Imperial Palace ( Rio de Janeiro, RJ, 2013) and Espelho Refletido - O Surrealismo e a Arte Contemporânea Brasileira, Municiple Center of Art of Hélio Oiticica ( Rio de Janeiro, RJ, 2012). The artist was also invited to the performance festivals of Queer Zagreb (2012) and Queer NY (2013). The awards, scholarships, and residencies in which she participated include: Programa Rumos Artes Visuais 2011-2013; 65º Salão de Abril, Banco do Nordeste Cultural Center (Ceará, 2014). Her work is in the collection of the Museu de Arte do Rio (MAR).
Performances, videos, machines, sounds, and noise are some of the forms that Gabriela Mureb’s works assume in order to evoke borderline experiences of body and language, from compulsively repeated movements. Gabriela Mureb has a doctorate degree in Visual Languages from UFRJ, and currently teacher in the Department of Visual Arts-Sculpture at UFRJ. Her solo exhibitions include: Rrrrrrrrrr, Central Gallery (São Paulo, SP, 2017); Corpos Dóceis, A Gentil Carioca (Rio de Janeiro, RJ, 2009). Her group exhibitions include: Quando o Tempo Aperta, curated by Raphael Fonseca, product of the Marcantonio Vilaça Prize 2015; Aparição, Caixa Cultural (Rio de Janeiro, RJ, 2015); Convite à Viagem, Itaú Cultural (São Paulo, SP, 2012) and Imperial Palace ( Rio de Janeiro, RJ, 2013) and Espelho Refletido - O Surrealismo e a Arte Contemporânea Brasileira, Municiple Center of Art of Hélio Oiticica ( Rio de Janeiro, RJ, 2012). The artist was also invited to the performance festivals of Queer Zagreb (2012) and Queer NY (2013). The awards, scholarships, and residencies in which she participated include: Programa Rumos Artes Visuais 2011-2013; 65º Salão de Abril, Banco do Nordeste Cultural Center (Ceará, 2014). Her work is in the collection of the Museu de Arte do Rio (MAR).
Rodrigo Martins is a designer by training. Perhaps precisely for this reason his research - and notwithstanding this, it is important to emphasize- is the result of experimentation that transits different languages, such as sculpture and painting, and different genres, like sill life and landscape painting. In his work, the artist creates a collage of several elements that sometimes simulate clues left to cause doubt. The human body is never shown in its entirety. What seems central to the work may, in fact, be secondary. The composition’s origin is uncertain, whether it is the result of the artist’s intentional production or the spontaneous result of life that he observes. The figurative components act as abstractions, which suggest three-dimensionality and lighting, and reference his interest in the sculpture tradition. The images portrayed use intimacy, whether it is in the interior of a house, the studio, the garden, or of the human body or nature. His solo exhibitions include: Heads, Animals and Plants, Central Galeria, (São Paulo, SP, 2019); Central Gallery (São Paulo, SP, 2016); Laura Marsiaj (Rio de Janeiro, RJ, 2014); FB Gallery (New York, NY, 2012); Casamata (Rio de Janeiro, RJ, 2011). His group exhibitions include: The Silence of the Tired Tongue, Framer Framed (Amsterdam, NL, 2022); Sorria!, Jacarandá (São Paulo, SP, 2017), Bângala: Yakã Ayê, Gentil Carioca (Rio de Janeiro, RJ, 2015); Figura Humana, Caixa Cultural of Rio de Janeiro (Rio de Janeiro, RJ, 2014); Idolatria Vã, Laura Marsiaj Gallery (Rio de Janeiro, RJ, 2013). Awards he has received include: Prêmio EDP nas Artes from Tomie Ohtake Institute (2014).
Rodrigo Martins is a designer by training. Perhaps precisely for this reason his research - and notwithstanding this, it is important to emphasize- is the result of experimentation that transits different languages, such as sculpture and painting, and different genres, like sill life and landscape painting. In his work, the artist creates a collage of several elements that sometimes simulate clues left to cause doubt. The human body is never shown in its entirety. What seems central to the work may, in fact, be secondary. The composition’s origin is uncertain, whether it is the result of the artist’s intentional production or the spontaneous result of life that he observes. The figurative components act as abstractions, which suggest three-dimensionality and lighting, and reference his interest in the sculpture tradition. The images portrayed use intimacy, whether it is in the interior of a house, the studio, the garden, or of the human body or nature. His solo exhibitions include: Heads, Animals and Plants, Central Galeria, (São Paulo, SP, 2019); Central Gallery (São Paulo, SP, 2016); Laura Marsiaj (Rio de Janeiro, RJ, 2014); FB Gallery (New York, NY, 2012); Casamata (Rio de Janeiro, RJ, 2011). His group exhibitions include: The Silence of the Tired Tongue, Framer Framed (Amsterdam, NL, 2022); Sorria!, Jacarandá (São Paulo, SP, 2017), Bângala: Yakã Ayê, Gentil Carioca (Rio de Janeiro, RJ, 2015); Figura Humana, Caixa Cultural of Rio de Janeiro (Rio de Janeiro, RJ, 2014); Idolatria Vã, Laura Marsiaj Gallery (Rio de Janeiro, RJ, 2013). Awards he has received include: Prêmio EDP nas Artes from Tomie Ohtake Institute (2014).
Rodrigo Martins is a designer by training. Perhaps precisely for this reason his research - and notwithstanding this, it is important to emphasize- is the result of experimentation that transits different languages, such as sculpture and painting, and different genres, like sill life and landscape painting. In his work, the artist creates a collage of several elements that sometimes simulate clues left to cause doubt. The human body is never shown in its entirety. What seems central to the work may, in fact, be secondary. The composition’s origin is uncertain, whether it is the result of the artist’s intentional production or the spontaneous result of life that he observes. The figurative components act as abstractions, which suggest three-dimensionality and lighting, and reference his interest in the sculpture tradition. The images portrayed use intimacy, whether it is in the interior of a house, the studio, the garden, or of the human body or nature. His solo exhibitions include: Heads, Animals and Plants, Central Galeria, (São Paulo, SP, 2019); Central Gallery (São Paulo, SP, 2016); Laura Marsiaj (Rio de Janeiro, RJ, 2014); FB Gallery (New York, NY, 2012); Casamata (Rio de Janeiro, RJ, 2011). His group exhibitions include: The Silence of the Tired Tongue, Framer Framed (Amsterdam, NL, 2022); Sorria!, Jacarandá (São Paulo, SP, 2017), Bângala: Yakã Ayê, Gentil Carioca (Rio de Janeiro, RJ, 2015); Figura Humana, Caixa Cultural of Rio de Janeiro (Rio de Janeiro, RJ, 2014); Idolatria Vã, Laura Marsiaj Gallery (Rio de Janeiro, RJ, 2013). Awards he has received include: Prêmio EDP nas Artes from Tomie Ohtake Institute (2014).
In her trajectory, Simone Cupello passes through film and architecture, and only from 2013 onwards will she effectively begin work as a visual artist. Her poetics are fundamentally based on the resources of photography and the image in an expanded field. The non-conventional use of found photographs, seen by her as “technological residue” and operated in bundles, points to the direction her research takes: the materiality of the image, and, with it, inherent antagonistic issues, such as technology and affects, presence and virtuality, memory and oblivion. The great archive of photographs collected by the artist throughout this period makes the creation of sculptures/installations possible, the sculpting of which provides organic forms similar to those in nature, such as rocks, barks, cracks and mounds that point toward what is tactile and physical while bringing to the fore an allegorical aspect, the landscape’s forged form. Her solo exhibitions include: Sombras sem Figura, Central Galeria (São Paulo, 2022); Jardim de Yeda, Central Galeria (São Paulo, SP, 2018); Entornos, Centro Cultural Cândido Mendes de Ipanema (Rio de Janeiro, RJ, 2017); Olhares Privados, Centro Cultural Justiça Federal (Rio de Janeiro, RJ, 2016); Extracampos, Projeto “Mesmo Lugar” da Hermes Artes Visuais, Qualcasa (São Paulo, SP, 2015); Her group exhibitions include: Arte Londrina 7, Casa de Cultura da UEL (PR, 2019); 43°SARP, Museu de Arte Ribeirão Preto (SP, 2018); MONU - A Arte Delas, Marina da Glória (Rio de Janeiro, RJ, 2018);Frestas, Trienal de Artes, Sesc Sorocaba (Sorocaba, SP, 2017); Duas Naturezas, Central Galeria (São Paulo, SP, 2017); Abre Alas 12, A Gentil Carioca (Rio de Janeiro, RJ, 2016); Mostra Bienal Caixa de Novos Artista, Caixas Culturais de Curitiba, São Paulo, Brasília, Fortaleza, Recife, Salvador e Rio de Janeiro, 2015 e 2016; Fotos Contam Fatos, Galeria Vermelho (São Paulo, SP, 2015); Contraprova, Paço das Artes - São Paulo, SP, 2015); 24 and + Segundos Simone Cupello e Cláudia Briza, interferências na Cinemateca de São Paulo (São Paulo, SP, 2015).
In her trajectory, Simone Cupello passes through film and architecture, and only from 2013 onwards will she effectively begin work as a visual artist. Her poetics are fundamentally based on the resources of photography and the image in an expanded field. The non-conventional use of found photographs, seen by her as “technological residue” and operated in bundles, points to the direction her research takes: the materiality of the image, and, with it, inherent antagonistic issues, such as technology and affects, presence and virtuality, memory and oblivion. The great archive of photographs collected by the artist throughout this period makes the creation of sculptures/installations possible, the sculpting of which provides organic forms similar to those in nature, such as rocks, barks, cracks and mounds that point toward what is tactile and physical while bringing to the fore an allegorical aspect, the landscape’s forged form. Her solo exhibitions include: Sombras sem Figura, Central Galeria (São Paulo, 2022); Jardim de Yeda, Central Galeria (São Paulo, SP, 2018); Entornos, Centro Cultural Cândido Mendes de Ipanema (Rio de Janeiro, RJ, 2017); Olhares Privados, Centro Cultural Justiça Federal (Rio de Janeiro, RJ, 2016); Extracampos, Projeto “Mesmo Lugar” da Hermes Artes Visuais, Qualcasa (São Paulo, SP, 2015); Her group exhibitions include: Arte Londrina 7, Casa de Cultura da UEL (PR, 2019); 43°SARP, Museu de Arte Ribeirão Preto (SP, 2018); MONU - A Arte Delas, Marina da Glória (Rio de Janeiro, RJ, 2018);Frestas, Trienal de Artes, Sesc Sorocaba (Sorocaba, SP, 2017); Duas Naturezas, Central Galeria (São Paulo, SP, 2017); Abre Alas 12, A Gentil Carioca (Rio de Janeiro, RJ, 2016); Mostra Bienal Caixa de Novos Artista, Caixas Culturais de Curitiba, São Paulo, Brasília, Fortaleza, Recife, Salvador e Rio de Janeiro, 2015 e 2016; Fotos Contam Fatos, Galeria Vermelho (São Paulo, SP, 2015); Contraprova, Paço das Artes - São Paulo, SP, 2015); 24 and + Segundos Simone Cupello e Cláudia Briza, interferências na Cinemateca de São Paulo (São Paulo, SP, 2015).
In her trajectory, Simone Cupello passes through film and architecture, and only from 2013 onwards will she effectively begin work as a visual artist. Her poetics are fundamentally based on the resources of photography and the image in an expanded field. The non-conventional use of found photographs, seen by her as “technological residue” and operated in bundles, points to the direction her research takes: the materiality of the image, and, with it, inherent antagonistic issues, such as technology and affects, presence and virtuality, memory and oblivion. The great archive of photographs collected by the artist throughout this period makes the creation of sculptures/installations possible, the sculpting of which provides organic forms similar to those in nature, such as rocks, barks, cracks and mounds that point toward what is tactile and physical while bringing to the fore an allegorical aspect, the landscape’s forged form. Her solo exhibitions include: Sombras sem Figura, Central Galeria (São Paulo, 2022); Jardim de Yeda, Central Galeria (São Paulo, SP, 2018); Entornos, Centro Cultural Cândido Mendes de Ipanema (Rio de Janeiro, RJ, 2017); Olhares Privados, Centro Cultural Justiça Federal (Rio de Janeiro, RJ, 2016); Extracampos, Projeto “Mesmo Lugar” da Hermes Artes Visuais, Qualcasa (São Paulo, SP, 2015); Her group exhibitions include: Arte Londrina 7, Casa de Cultura da UEL (PR, 2019); 43°SARP, Museu de Arte Ribeirão Preto (SP, 2018); MONU - A Arte Delas, Marina da Glória (Rio de Janeiro, RJ, 2018);Frestas, Trienal de Artes, Sesc Sorocaba (Sorocaba, SP, 2017); Duas Naturezas, Central Galeria (São Paulo, SP, 2017); Abre Alas 12, A Gentil Carioca (Rio de Janeiro, RJ, 2016); Mostra Bienal Caixa de Novos Artista, Caixas Culturais de Curitiba, São Paulo, Brasília, Fortaleza, Recife, Salvador e Rio de Janeiro, 2015 e 2016; Fotos Contam Fatos, Galeria Vermelho (São Paulo, SP, 2015); Contraprova, Paço das Artes - São Paulo, SP, 2015); 24 and + Segundos Simone Cupello e Cláudia Briza, interferências na Cinemateca de São Paulo (São Paulo, SP, 2015).
