ALGARAVIA: ANDY VILLELA’S DEBUT IN CASA TRIÂNGULO

Algaravia is a Portuguese word referring to a loud mix of many incomprehensible voices speaking at once. A babbling din, a cacophonous polyphony. No single English word fully captures the same range of meaning, which includes both the loudness and the unintelligibility of the overlapping voices.

The concept behind the exhibition Algaravia lies in the very meaning of the word: a tumult of voices, a jumble of words, or simply an incomprehensible foreign language. The idea is to return to the debate around art, focused primarily on the artistic product in its own right, apart from the psychobiographical background of the artist – which does not, however, mean ignoring the entire narrative construction of the artist's journey, both in the market and in her social context. By encouraging commentary on the work in and of itself, there is a search to shed light on the experience embedded within. The artwork generates an attraction precisely through its imperfections and contradictions, yet ultimately reveals itself only within the realm of language. Experience is where we connect as humans, while it is through the use of words that we attempt to decipher the intangible.

The work of curators and researchers is crucial for the cultural dissemination of artistic productions, and words are their main tool. However, language inherently carries an ambiguity that can broaden or limit a theme, an event or an artist. Art is the space where multiple points of view that move away from fixed ideas or established concepts are expected and even welcomed.

Andy Villela (1994, Rio de Janeiro, Brazil. Lives and works in Rio de Janeiro, Brazil). Has a bachelor degree in Communication from Faculdades Integradas Hélio Alonso (2020); Escola de Artes Visuais do Parque Lage (2021/22). Solo exhibitions: Algaravia, critical texts by Carollina Lauriano, Clarissa Diniz, Lucas Albuquerque, Lorraine Mendes and Victor Gorgullho, Casa Triângulo, São Paulo, Brazil (2024); Nebulosa, curated by Clarissa Diniz, Nonada, Rio de Janeiro, Brazil; Pequenos formatos, curated by Rubens Takamine, Bacorejo, Rio de Janeiro, Brazil (2023). Group exhibitions: The Square, curated by Mari Stockler, Casa de Vidro Lina Bo Bardi, São Paulo, Brazil; Quadrantes da Miragem, curated by Shannon Botelho, Ateliê 31, Rio de Janeiro, Brazil; Superfície Matéria: Densidade Identitária, curated by Paulo Azeco, Nonada, São Paulo, Brazil; Fetiche: Retrato, curated by Bob Wolfenson, Nonada, Rio de Janeiro, Brazil; Abre Alas 18, curated by Vivian Caccuri, Bruna Costa and Lia Letícia, A Gentil Carioca, Rio de Janeiro, Brazil; Paura, curated by Paulo Azeco, Era Gallery, Milan, Italy; A Passagem, curated by Sema and Dani de Freita, Coart UERJ, Rio de Janeiro, Brazil (2023); Do Meu Lugar Faço Movimento, curated by Adriana Nakamuta, Cavalariça Parque Lage, Rio de Janeiro, Brazil; A Palavra, curated by André Vargas, Nonada, Rio de Janeiro, Brazil; Cavalo de Tróia, curated by Rubens Takamine, Fábrica Bhering, Rio de Janeiro, Brazil; Despertar Inconsciente, curated by Carla Oliveira and Luyza de Luca, Casa Bicho, Rio de Janeiro, Brazil; Primavera Tua: A Casa Como Extensão da Rua, Instituto Municipal Nise da Silveira, Rio de Janeiro, Brazil; Imaginário Periférico, Centro Cultural Capiberibe 27, Rio de Janeiro, Brazil (2022); Erótica, Calma to Calma, Rio de Janeiro, Brazil (2021); Oferenda, Igreja do Reino da Arte, Rio de Janeiro, Brazil (2020).