ALGARAVIA: ANDY VILLELA’S DEBUT IN CASA TRIÂNGULO
Casa Triângulo presented Algaravia, the first solo exhibition by Andy Villela at the gallery, featuring critical texts by Carolina Lauriano, Clarissa Diniz, Lucas Albuquerque, Lorraine Mendes and Victor Gorgulho.
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.
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Andy Villela . Cúmulo-nimbo, 2024 . acrílica e bastão oleoso sobre tela [acrylic and oily stick on canvas] . ed. única [unique] . 149 x 115 x 3 cm . Cortesia [Courtesy] Casa Triângulo . Photo Estúdio em Obra
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Andy Villela . Cúmulo-nimbo, 2024 . acrílica e bastão oleoso sobre tela [acrylic and oily stick on canvas] . ed. única [unique] . 149 x 115 x 3 cm . Cortesia [Courtesy] Casa Triângulo . Photo Estúdio em Obra
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Andy Villela . Mil intenções ocultas, 2024 . acrílica e pastel oleoso sobre tela [acrylic and oily stick on canvas] . ed. única [unique] . 142 x 200 x 3 cm . Cortesia [Courtesy] Casa Triângulo . Photo Estúdio em Obra
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Andy Villela . Mundo de se comer com os dentes, 2024 . acrílica e óleo sobre tela [acrylic and oil on canvas] . ed. única [unique] . 97 x 120 x 3 cm . Cortesia [Courtesy] Casa Triângulo . Photo Estúdio em Obra
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Andy Villela . O Circo, 2024 . acrílica e carvão sobre tela [acrylic and charcoal on canvas] . ed. única [unique] . 150 x 147 x 3 cm . Cortesia [Courtesy] Casa Triângulo . Photo Estúdio em Obra
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Andy Villela . Sem título [Untitled], da série [form the series] The sea and the possibility of zero gravity2024. acrílica, bastão à óleo e carvão sobre tela [acrylic, oily stick and charcoal on canvas]. ed. única [unique]. 218 x 159 x 4 cm. Cortesia [Courtesy] Casa Triângulo
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Andy Villela . The Door, 2024. acrílica, óleo, bastão a óleo e spray sobre tela [acrylic, oil, oily stick and spray on canvas]. ed. única [unique]. 190 x 150 x 3 cm . Cortesia [Courtesy] Casa Triângulo . Photo Estúdio em Obra.
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Sewing, da série [from the series] The sea and the possibility of zero gravity, 2024. acrílica e óleo sobre tela [acrylic and oil on canvas] . ed. única [unique]. 150 x 175 x 3 cm . Cortesia [Courtesy] Casa Triângulo . Photo Estúdio
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).
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In Brazil's largest open-air contemporary art center, with an enviable connection between nature and visuality, nautical elements have curiously been the driving force behind important commissioned works. Now at Inhotim, they are central to the metaphors that evoke previous unwanted flows of circulation and, at the same time, act as a reference so that they are not repeated - in this case, the slave trade originating in Africa, whose survivors worked, among other activities, in the exploitation of minerals that sustained the economy of this part of Brazil, today, Minas Gerais.
MOVING GRAVES, REVOLVED TERRITORIES, RESISTANCE IN A NET - GRADA KILOMBA, LUANA VITRA AND ABDIAS NASCIMENTO
In Brazil's largest open-air contemporary art center, with an enviable connection between nature and visuality, nautical elements have curiously been the driving force behind important commissioned works. Now at Inhotim, they are central to the metaphors that evoke previous unwanted flows of circulation and, at the same time, act as a reference so that they are not repeated - in this case, the slave trade originating in Africa, whose survivors worked, among other activities, in the exploitation of minerals that sustained the economy of this part of Brazil, today, Minas Gerais.
Ernesto Neto (Rio de Janeiro, Brazil, 1964) presents Nosso Barco Tambor Terra at Lisbon's Museum of Art, Architecture and Technology (MAAT), an impressive large-scale installation with which he evokes and stages the crossing of different cultures and the relationships between individuals from different continents.
ERNESTO NETO AND HIS CROSSROADS OF CULTURES AT MAAT
Ernesto Neto (Rio de Janeiro, Brazil, 1964) presents Nosso Barco Tambor Terra at Lisbon's Museum of Art, Architecture and Technology (MAAT), an impressive large-scale installation with which he evokes and stages the crossing of different cultures and the relationships between individuals from different continents.
Rosana Paulino. Amefricana is the most complete exhibition outside Brazil of this artist born in Sao Paulo in 1967. The exhibition at Malba brings together a group of works made during 30 years, between 1994 and 2024, from the perspective that the Atlantic inscribes in the Afro-descendant America.
AFFECTIVE POETICS: ROSANA PAULINO AT MALBA
Rosana Paulino. Amefricana is the most complete exhibition outside Brazil of this artist born in Sao Paulo in 1967. The exhibition at Malba brings together a group of works made during 30 years, between 1994 and 2024, from the perspective that the Atlantic inscribes in the Afro-descendant America.
Alberto Baraya (Bogota, Colombia, 1968) lands through El Naturalista Artificial, his alter ego for the occasion, his working method to research and search, in an almost expeditionary way, the knowledge and exotic objects of the world in Fábulas Goyescas, recently inaugurated at Fernando Pradilla in Madrid.
Fundación Ama Amoedo announces the call for the Grants Fundación Ama Amoedo 2024. With the aim of providing resources and opportunities for the strengthening of the art ecosystem and its institutions, a total of USD 100,000 will be divided into 10 grants of USD 10,000. Deadline to apply: July 30th, 2024.
OPEN CALL FOR GRANTS IN FUNDACIÓN AMA AMOEDO
Fundación Ama Amoedo announces the call for the Grants Fundación Ama Amoedo 2024. With the aim of providing resources and opportunities for the strengthening of the art ecosystem and its institutions, a total of USD 100,000 will be divided into 10 grants of USD 10,000. Deadline to apply: July 30th, 2024.
In Brazil's largest open-air contemporary art center, with an enviable connection between nature and visuality, nautical elements have curiously been the driving force behind important commissioned works. Now at Inhotim, they are central to the metaphors that evoke previous unwanted flows of circulation and, at the same time, act as a reference so that they are not repeated - in this case, the slave trade originating in Africa, whose survivors worked, among other activities, in the exploitation of minerals that sustained the economy of this part of Brazil, today, Minas Gerais.
MOVING GRAVES, REVOLVED TERRITORIES, RESISTANCE IN A NET - GRADA KILOMBA, LUANA VITRA AND ABDIAS NASCIMENTO
In Brazil's largest open-air contemporary art center, with an enviable connection between nature and visuality, nautical elements have curiously been the driving force behind important commissioned works. Now at Inhotim, they are central to the metaphors that evoke previous unwanted flows of circulation and, at the same time, act as a reference so that they are not repeated - in this case, the slave trade originating in Africa, whose survivors worked, among other activities, in the exploitation of minerals that sustained the economy of this part of Brazil, today, Minas Gerais.
Ernesto Neto (Rio de Janeiro, Brazil, 1964) presents Nosso Barco Tambor Terra at Lisbon's Museum of Art, Architecture and Technology (MAAT), an impressive large-scale installation with which he evokes and stages the crossing of different cultures and the relationships between individuals from different continents.
ERNESTO NETO AND HIS CROSSROADS OF CULTURES AT MAAT
Ernesto Neto (Rio de Janeiro, Brazil, 1964) presents Nosso Barco Tambor Terra at Lisbon's Museum of Art, Architecture and Technology (MAAT), an impressive large-scale installation with which he evokes and stages the crossing of different cultures and the relationships between individuals from different continents.
Rosana Paulino. Amefricana is the most complete exhibition outside Brazil of this artist born in Sao Paulo in 1967. The exhibition at Malba brings together a group of works made during 30 years, between 1994 and 2024, from the perspective that the Atlantic inscribes in the Afro-descendant America.
AFFECTIVE POETICS: ROSANA PAULINO AT MALBA
Rosana Paulino. Amefricana is the most complete exhibition outside Brazil of this artist born in Sao Paulo in 1967. The exhibition at Malba brings together a group of works made during 30 years, between 1994 and 2024, from the perspective that the Atlantic inscribes in the Afro-descendant America.
Alberto Baraya (Bogota, Colombia, 1968) lands through El Naturalista Artificial, his alter ego for the occasion, his working method to research and search, in an almost expeditionary way, the knowledge and exotic objects of the world in Fábulas Goyescas, recently inaugurated at Fernando Pradilla in Madrid.
Fundación Ama Amoedo announces the call for the Grants Fundación Ama Amoedo 2024. With the aim of providing resources and opportunities for the strengthening of the art ecosystem and its institutions, a total of USD 100,000 will be divided into 10 grants of USD 10,000. Deadline to apply: July 30th, 2024.
OPEN CALL FOR GRANTS IN FUNDACIÓN AMA AMOEDO
Fundación Ama Amoedo announces the call for the Grants Fundación Ama Amoedo 2024. With the aim of providing resources and opportunities for the strengthening of the art ecosystem and its institutions, a total of USD 100,000 will be divided into 10 grants of USD 10,000. Deadline to apply: July 30th, 2024.
