VERA CHAVES BARCELLOS' COMBINATIONS AT ZIELINSKY
Zielinsky presented Vera Chaves Barcellos' second solo exhibition at the gallery, entitled Objects 1969-1970.
The exhibition focuses on pieces produced by the artist specifically between the years of 1969 and 1970. A series of objects developed as “open works”, as the artist usually calls when referring to these changing sets of engravings that require the viewer’s activation to come up with one of its possible combinations. There is no final and correct arrangement of the pieces, but there are different ways of displaying and ordering the set.
On May 28 and June 13, the pieces in the exhibition are activated and new sets formed by moving the objects in other directions. The gesture of setting a date for the ensemble to unfold in other combinations and rhythms plays with the historical sense of the works conceived and produced by Chaves Barcellos so that they can be manipulated by the viewer, but also a way of setting a time/space of protection of a work carried out and separated from our present for more than fifty years.
The fact of moving turns them into a non-paralyzed object, a gesture sought by many artists since the late 1950s. If we return to the Latin American context and the interests of neoconcretism, we find a type of key figures for the development of the viewer’s active experience with geometric forms: Lygia Pape and her “Livro da Criação” (1959) or her “Balé Neoconcreto” (1958); Hélio Oiticica and his “Relevos Espaciais” (1959-1960) or “Núcleos” (1960-1966); Lygia Clark and her “Bichos” series (1960-1964). The geometric contaminated with the relational of these previous years has been one of the starting points for the next generation in which Chaves Barcellos is a part along with other artists, who would combine geometric forms with the different conceptualist currents of the period.
The shapes present in Vera’s objects are curvilinear, they are constantly mixing with their neighboring shapes, fitting and moving through the space of the paper and the wall. It is an organic and sensual geometry, not of opposition, but of circularity and action.
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Vistas de la exposición. Cortesía Zielinsky.
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Vistas de la exposición. Cortesía Zielinsky.
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Vistas de la exposición. Cortesía Zielinsky.
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Vistas de la exposición. Cortesía Zielinsky.
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Vistas de la exposición. Cortesía Zielinsky.
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Vistas de la exposición. Cortesía Zielinsky.
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Vistas de la exposición. Cortesía Zielinsky.
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Vistas de la exposición. Cortesía Zielinsky.
Vera Chaves Barcellos (1938) currently lives and works between Porto Alegre, Brazil and Barcelona, Spain. Recently the artist has participated in exhibitions: “To Write Down All Their Names”, Museo Helga de Alvear, Cáceres, Spain (2023) and Palais Populaire, Berlin (2022); “Off Register: Publishing Experiments by Women Artists in Latin America, 1960-1990” (2023), Center for Book Arts, New York, USA; “Chão da Praça: obras de la colección Pinacoteca” (2023), Pinacoteca de São Paulo, Brazil; “O estranho desaparecimento de Vera Chaves Barcellos” (2023), Fundação Iberê, Porto Alegre, Brazil; Los enemigos de la poesía: resistencias en América Latina”, Museo Reina Sofía, Madrid, Spain (2021).“Radical Women: Latin American Art, 1960–1985”, Hammer Museum, EEUU, Brooklyn Museum, USA, and Pinacoteca de São Paulo, Brazil (2018).
Her works are part of numerous public and private collections: Museo Nacional Centro de Arte Reina Sofía, Madrid, Spain; Pinacoteca de São Paulo, Brazil; MACBA-Museu d’Art Contemporani de Barcelona, Spain; Fundación Helga de Alvear, Cáceres, Spain; Museu de Arte Moderna de São Paulo, Brazil, among others.
Objects 1969-1970. Solo exhibition by Vera Chaves Barcellos.
Until June 21, 2024.
Zielinsky. Passatge de Mercader, 10. 08008 Barcelona, Spain.
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