(Dec 2018 – Mar 2019)
The third exhibition of PIPA Institute collection, which opened at December 8th, featured the work of eight artists to discuss the ambivalence between collapse and construction that is so striking in our contemporary world. The show gathered painting, video and photography in a set that engage with the intervention by Henrique Oliveira placed at the main stair of Villa Aymoré. “Between collapse and construction”, curated by Luiz Camillo Osorio, addreses the notions of reconstruction, restitution and transformation. The works of Luciana Magno, Renata Lucas, Rodrigo Braga, Paulo Nimer Pjota, Gaio, Luiz D’Orey, Berna Reale and Tatiana Blass in the exhibition propose a reflection on the issue of precariousness and permancence, as it does Oliveir’s site specific, that seems to claim a territory that was once ocupied by the nature, but that was taken by human constructions. Luiz Camillo Osorio wrote:
“One has to build, we remain committed to the construction of the world even though we know that nothing remains standing for long. Between rubbish and luxury, waste and good intentions remain; there is a lack of scale and permanence. The immediatism of our accelerated sensibility is invested in the obsolete; everything becomes trash before being vital. Between sculpture and the home, we have to reinvent habitation, care, new ways of living with time”.
(Jun – Aug 2018)
The second exhibition of PIPA Institute collection, at Villa Aymoré, featuring works by Berna Reale, Marco Antonio Portela, Paulo Nazareth, Shima and Virginia de Medeiros, “Lost and Found” discusses the processes of building identities in the contemporary world. The (self) portraits on view seek to displace the individual from the ideal and admirable image, marginalizing himself in decadence. The works were selected by the curator of PIPA Institute, Luiz Camillo Osorio, who wrote the introductory text:
“Everything today is construction and image circulation. On the one hand, there is a restless need to turn ourselves into desirable products – professionally, affectively, politically. On the other hand, a libertarian aspiration to recreate ourselves without following previous models of normality. In other words: we are both merchandise and fabulation, subject and object, product and process.
It is unquestionable that we are all tired of so much representation. The fixed identities that defined what was good and normal are barely seductive anymore, even though there is a need to affirm historically marginalised identities. In the exhaustion of identity, seeking to displace models and images is part of the inherent politics of the arts.
The artists featured here work with images of themselves that go against narcissism. They seek to invent unlikely roles, multiply social references, and mislead our ability to recognise, classify and, consequently, exclude. Being many and being with others is an ethical imperative in this world of transits and inequalities. This is the common thread between the photos and videos of Berna Reale, Marco Antonio Portela, Paulo Nazareth, Shima and Virginia de Medeiros.” – by Luiz Camillo Osorio
(Mar – Jun 2018)
PIPA Institute opened its collection to the public for the first time in “After the end, before the beginning”, on March 9th, 2018 at Villa Aymoré. Featuring works by seven artists, the exhibition delves into the theme of displacement – which, as Luiz Camillo Osorio explains in the introductory text to the show, is no longer solely applicable to geography, but to time and the body as well:
– Nomadism, migrations, gender fluidity, genetic mutations, the obsolescence of things and people, and identity affirmations and questionings became the rule, that is, intentional or forced displacements – writes the Curator of the PIPA Institute. – The artists we present here in this first exhibition express all that in their own way.
The artists in question are Berna Reale, Cadu, Luciana Magno, Paulo Nimer Pjota, Paulo Nazareth and Rodrigo Braga, who showcase works in video, photography, printmaking, and installation. All of them are former PIPA Prize participants: while Berna Reale and Rodrigo Braga became finalists in 2013 and 2012, respectively, Cadu and Paulo Nazareth have already won the main award and Luciana Magno and Paulo Nimer Pjota were winners in the PIPA Online category.
Such connections are not coincidental. The idea behind it is that both the Institute and the Prize walk hand-in-hand, the Institute commissioning and acquiring works from artists who have run for the award throughout the years. After all, both initiatives have the same goal: to promote and stimulate Brazilian contemporary art. As Luiz Camillo Osorio sums it up:
– Art insists on opening possibilities, facing the ruins and seeking to think/jump beyond the abyss that lies before us. This is what we bet on when we formed this collection and encouraged contemporary production through both PIPA Institute and PIPA Prize.