Marcius Galan was born in Indianapolis, USA, son of Brazilian parents who returned to Brazil before the artist was old enough to walk and speak the language. The artist graduated in Artistic Education from FAAP, São Paulo in 1997, where he currently lives and works. In 2003 won a residency of six months in Cité des Arts em Paris through FAAP and spent 3 months in residency in the Art Institute of Chicago through the Iberê Camargo Scholarship Programme in 2004. Galan won the 3rd edition of PIPA in 2012. The artist presented the work ‘Obra de Arte em 5 Vias’, a conceptual work created exclusively for the Finalists Exhibition at MAM-Rio. In 2013, Galan had a solo exhibition at White Cube, London titled ‘Geometric Progression’. The artist has participated extensively in group exhibitions in renowned galleries, institutions and biennales in Brazil and abroad, including: the 29th and 30th editions of the São Paulo Biennale, 8th Mercosul Biennale and Biennale of the Americas (MCA, Denver, USA). Recent exhibitions include: Instituto Tomie Ohtake, São Paulo, Brazil, Luhring Augustine, New York, USA, MdM Gallery, Paris, France, Palais de Tokyo, Paris, France, Galerija Gregor Podnar, Berlin, Germany, Häusler Contemporary, Zurich, Switzerland and Maisterravalbuena Galeria, Madrid, Spain.
Galan’s work presented in MAM characterizes itself for adopting a problem that is clearly connected to the conceptual tradition. In it, the relation between work and image is problematized through denial. In fact, one does not have full access to the artwork as it classically thought, because its alleged iconicity is replaced by a device that documents its existence contractually. This way, the work is indicated via objective text. There is no longer a pretext of an interior sensitivity, of a process; nor perception, nor body are addressed. When the transformation of the work i the image is refused, what’s left as art is art is pure externality, as the consideration of an economic issue. The contract is exhibited and, as it is established, different colours stress five pieces of the work, dedicated to the artist, the critic, the audience, etc. It is revealed in this material externality its origin as a Marxist analysis; it is now its conceptual structure. What is left to the work is to pragmatically denounce the agents that would perversely articulate this image and spectacle’s economy, turned into a class problem. – Cezar Bartholomeu.
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