Pinacoteca de Sao Paulo will present, from November 24, 2018 through February 25, 2019, the exhibition Laercio Redondo: Relance, at the Octagon and the exhibition of the collection at the first floor of Pinacoteca. Curated by Fernanda Pitta, the senior curator at the museum, and consulting by American art historian Kaira M. Cabañas, the exhibition proposes to investigate other possible interpretations of the narratives concerning the history of Brazil, told through the museum collection, based on an olfactory experience.
The craft of Laercio Redondo, who lives in both Sweden and Brazil, has long been dedicated to images from the collective memory and certain effacements from Brazilian culture. For Project Octagon, this Paraná-born artist explores the potentialities in an anecdotal story told of Estevão Silva (c.1844-1891)—the first painter of African origin accepted into the Imperial Academy of Fine Arts, in Rio de Janeiro—who used to present his still life paintings right next to the fruits he painted so that their smell would be part of the observer’s perception.
Based on this strategy, Redondo thought of a way to propose an intervention that explored other possibilities to experiencing art objects than visually. The result is a proposal of an intervention at the Octagon as the starting point of a tour of the museum along which visitors will find 18 displays positioned strategically near works by Anita Malfatti, Almeida Júnior, Claudia Andujar, Maria Martins, and other artists, 8 of them containing odor-coated cards. Visitors will be able to take them home. These olfactory chords were developed through a partnership between the Pinacoteca curator and the German fragrance house, Drom Fragrances, created by the perfumers Cleber Bozzi and Luis Paulo Natividade, with the olfactory direction of Matthieu Ferreira, Renata Abelin and Kelly Medeiros, who are part of the fragrance team and the creative area of the company.
Curator Fernanda Pitta comments that “smell in this work by Laercio Redondo serves as a starting point for stories containing traces, leftovers, effacements, and comebacks to unfold.” She explains that “favoring the sense of smell is a strategy to activate, to free up, other memories, allowing new interpretations. Redondo, who has been working with procedures to erode, turn over, and reshuffle images, this time stretches his iconoclast self to the limit, in an attitude that seemed to him necessary to in a way escape the normalizing power images have.”
With Relance, whose title is borrowed from a song by Caetano Veloso, meaning literally “glance again,” Redondo seeks to provoke a critical deviation to the symbolic value and the meanings commonly assigned to some of the works in the collection. “Hopefully, therefore, the smell will revolve the memory of spectators, shuffle things up and activate a historical experience that turns their perception around, confronting their effacements, made explicit by the images,” Pitta says. The strategy is intended to open up the possibility, based on the reversal of the senses, of new interpretations as well as to spot, by way of the museum’s collection, the gaps in Brazilian narratives.
Created 2003, the project titled Octagon Contemporary Art occupies an important space in the museum, featuring contemporary art productions commissioned by the museum. Over these 15 years, the project presented 40 site-specifics by Brazilian and foreign artists, including Ana Maria Tavares, Artur Lescher, Carla Zaccagnini, Carlito Carvalhosa, Joana Vasconcelos, João Loureiro, José Spaniol, Laura Vinci, Regina Silveira, Rubens Mano, Laura Lima, among others.
ABOUT THE ARTIST
Laercio Redondo was born 1967, in Paranavaí, Brazil, and lives and works in both Rio de Janeiro, Brazil, and Stockholm, Sweden. He finished graduate school at the Konstfack University College of Art, Crafts and Design, in Stockholm, Sweden, and held individual exhibitions in important spaces such as Dallas Contemporary (2016); Ana Mas Projects, Barcelona (2016); Rio de Janeiro Museum of Modern Art (2015); Die Raum, in Berlin (2014), among others. His collective exhibitions include Bienal de Cuenca (2018); Tarsila e Mulheres Modernas no Rio (2015) and Josephine Baker e Le Corbusier no Rio – Um caso transatlântico (2014), both at the Rio de Janeiro Museum of Modern Art; Idea di Frattura – Opinione Latina / 2, Galleria Francesca Minini, Milan (2014); Amor e ódio à Lygia Clark, Zachęta National Gallery of Art, Warsaw (2013); The right to the city, Stedelijk Museum Bureau, Amsterdam (2013); O interior está no exterior, SESC Pompéia, Sao Paulo (2013); Bananas is my Business: The South American way, Carmen Miranda Museum, Rio de Janeiro (2011); Leibesübungen – Vom Tun und Lassen in der Kunst, Galerie der Hochschule für Bildende Künste, Braunschweig (2008); Bienal do Mercosul, Porto Alegre, Brazil (2008); among others.
Laercio Redondo: Relance
Curated by Fernanda Pitta
Consulting Curator: Kaira M. Cabañas
Texts: Daniel Lima, Paloma Vidal, and Soraya Guimarães Hoepfner
Opens: November 24, 2018, Saturday, at 11 am
Exhibition Dates: November 24, 2018 through February 25, 2019
Wednesdays through Mondays, 10 am to 5:30 pm – visitors are allowed to stay until 6 pm
Pinacoteca: Praça da Luz 2, Sao Paulo, SP
Fees: R$ 6.00 (admission); R$ 3.00 (student tickets)
Children 10 or under and 60 year-olds and up are allowed in for free.*
Admission to Pina is free for all visitors on Saturdays.
Pina Estação is free every day.
Subscribers to Friends of Pina have unlimited access and can enjoy discounts at the shop and café. They can also join in on guided tours and other events along with the Pinacoteca staff. To learn more about the program, go to: http://pinacoteca.org.br/apoie/amigos-da-pina/