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DOCUMENT is pleased to present Geraldo de Barros’ first solo exhibition at the gallery. De Barros (São Paulo, Brazil, 1923-1998) concentrated on photography within two periods of time, each resulting in the production of the two bodies of work represented in this exhibition: the Fotoformas (1949-51) and the Sobras (1996-1998). By using a medium that so persuasively locates itself within day-to-day reality, de Barros was able interrogate the relationship between photography and other forms of capturing experience. In both series, he overlaid photographic document with the making-visible of imaginative or formal associations, and collapsed different moments of time into a single image.

Fotoformas and Sobras bridge the beginning and end of de Barros’ working life as an artist. Between the two, his activity had included participating in the formation of the Concrete Art group Ruptura (1952-1959); co-founding both the collectivist furniture factory Unilabor (1954-1961) and the graphic design consultancy forminform (1958); creating, with Nelson Leirner and Wesley Duke Lee, an anarchic space named Rex Gallery & Sons (1966-1967), and founding the furniture company Hobjeto (1964-1989). The artistic output of this varied trajectory encompassed abstract painting, industrial and graphic design, assemblages produced by painting over found billboard fragments, and abstract reliefs made of Formica. This multifaceted career suggests a wilful and dextrous heterogeneity that is also contained within De Barros’ attitude towards photography.

Through their use of cutting, cropping and collage, the Sobras also recall the processes first used in the production of the Fotoformas. Whereas the relationship between the two series is consistently apparent at the level of technique, the set of photo-collages on paper that also forms part of Sobras creates a more explicit connection to the Fotoformas. Their source materials were reproductions of his earliest images, as produced for a book published for his 1994 retrospective in São Paulo. Being fortunate enough to be witness to the beginnings of his own historicisation, the Sobras thus allowed de Barros to submit his photographic practice to a degree of chronological disobedience. As a deliberate return to photography, his final series again marked out the distinct parameters of his approach to this medium. This is a series of work that de Barros began at the end of his life, but it is also one provoked by a need to recall his first motivations for engaging with photography. The Sobras, formed by a process of looking back that acted against both nostalgia and narrative, continue to invite the intrusion of the present.

Isobel Whitelegg

Geraldo de Barros

Geraldo de Barros was born in São Paulo in 1923 and lived there until his death in 1998. He started his career as a traditional painter, but began an intense period of experimentation with the photographic medium in 1946, which culminated in his Fotoformas exhibition at the Museu de Arte de São Paulo (MASP) in 1951. The exhibition was a watershed for Brazilian photography and led to de Barros receiving a scholarship to study engraving in Paris. While in Europe he travelled extensively, meeting influential artists and encountering key movements in art and design. He returned to Brazil and established a successful career as an artist and industrial designer. A key figure in Brazillian Concrete, Abstract and Pop art he was a founding member of many influential groups including Grupo 15, Galeria Rex, Grupo Ruptura. He established the design co-operative Unilabor and furniture company Hobjeto Industry. After a series of strokes de Barros began in 1996 to work on a series of collage works using his ‘leftover’ family photographs. Entitled Sobras, de Barros continued to work on the series until his death in 1998.

 

 

 

 

 

 

 

Geraldo de Barros, Untitled (from Sobras Series), 1996-1998, Silver gelatin print, Edition of 5

Geraldo de Barros, Untitled (from Sobras Series), 1996-1998, Silver gelatin print, Edition of 5

Geraldo de Barros, Untitled (from Sobras Series), 1996-1998, Silver gelatin print, Edition of 5

Geraldo de Barros, Untitled (from Sobras Series), 1996-1998, Silver gelatin print, Edition of 5

Geraldo de Barros, Untitled (from Sobras Series), 1996-1998, Silver gelatin print, Edition of 5

Geraldo de Barros, Untitled (from Sobras Series), 1996-1998, Silver gelatin print, Edition of 5

Geraldo de Barros, Untitled (from Sobras Series), 1996-1998, Silver gelatin print, Edition of 5

Geraldo de Barros, Untitled (from Sobras Series), 1996-1998, Silver gelatin print, Edition of 5

Geraldo de Barros, Untitled (from Sobras Series), 1996-1998, Silver gelatin print, Edition of 5

Geraldo de Barros, Untitled (from Sobras Series), 1996-1998, Silver gelatin print, Edition of 5

Geraldo de Barros, Untitled (from Fotoformas Series), 1950, Silver gelatin print, Edition of 15

Geraldo de Barros, Untitled (from Fotoformas Series), 1950, Silver gelatin print, Edition of 15

Geraldo de Barros, Untitled (from Fotoformas Series), 1948, Silver gelatin print, Edition of 15

Geraldo de Barros, Untitled (from Fotoformas Series), 1950, Silver gelatin print, Edition of 15

Geraldo de Barros, Hommage à Picasso (from Fotoformas Series), 1949, Silver gelatin print, Edition of 15

WANDERLUST: ACTIONS, TRACES, JOURNEYS 1967-2017

Janine Antoni. Touch, 2002. © Janine Antoni; Courtesy of the artist and Luhring Augustine, New York.

SEPTEMBER 7-DECEMBER 31, 2017

UB ART GALLERY THRU DEC. 16 AND UB ANDERSON GALLERY THRU DEC. 31, 2017

OPENING RECEPTION: UB ART GALLERY, CFA SEPTEMBER 7, 5-8PM
UB Art Gallery: September 7-December 16, 2017
UB Anderson Gallery: September 7-December 31, 2017

 

Wanderlust: Actions, Traces, Journeys 1967-2017 is a 50 year survey exhibition that considers the themes of action and exploration outside of the studio and how artists engage this theme in various ways, including walking, cartography, land use, endurance, and the consideration of public space. This exhibition highlights a variety of art practices, dating from the late 1960s and continuing through present day. Artists include Vito Acconci, Bas Jan Ader, Nevin Aladag, Francis Alÿs, Janine Antoni, John Baldessari, Kim Beck, Roberley Bell, Blue Republic, Sophie Calle, Rosemarie Castoro, Cardiff/Miller, Zoe Crosher, Fallen Fruit, Mona Hatoum, Kenneth Josephson, William Lamson, Richard Long, Marie Lorenz, Mary Mattingly, Anthony McCall, Ana Mendieta, Teresa Murak, Wangechi Mutu, Efrat Natan, OHO, Gabriel Orozco, Carmen Papalia, John Pfahl, Pope.L, Michael X. Ryan, Todd Shalom, Greg Stimac, Mary Ellen Strom, and Guido van der Werve. The exhibition will be on view at the UB Art Galleries from September 7-December 31, 2017 and travel to the Des Moines Art Center in February 2018. The catalogue, published by MIT Press, includes essays by Jane McFadden, Lori Waxman and Rachel Adams

For the first time, this exhibition brings together regional, national and international artists that focus on actions in and with the landscape through various practices. No longer separately relegated to “walking” art or “land” art, but including action-based processes, Wanderlust allows viewers to experience 50 years of artistic practices that are intertwined while highlighting diverse approaches to contemporary art. By experiencing the gallery exhibitions and participating in public programs, viewers will gain an understanding of working outside the box. Artwork in the exhibition ranges in medium from drawing, photography, sculpture, installations, film, and video to performance and social practice taking place in both urban and rural landscapes. Taking its name from Rebecca Solnit’s book Wanderlust: A History of Walking, the exhibition will include works that are narrative, political, performative, and conceptual examples of contemporary art. Represented works vary in process—some artists work as solitary figures implanting themselves physically on the landscape while others form actions and create movements in a collaborative manner or in public. The exhibition will not be installed chronologically; historic artworks will be juxtaposed with recent and commissioned artworks that relate to each other through influence from previous decades and artistic intention.

Beginning with significant historical works from artists such as Richard Long, who was one of the first artists to make walking his art form, to Ana Mendieta, who carved and shaped her own figure into the earth and documented these private sculptural performances, to Michelangelo Pistoletto’s performance, Walking Sculpture, in which he and a group of people walked a large newspaper ball down the streets of Turin, the exhibition will include works from all decades since the 60s and commission artists to create new work for 2017. Commissions of new work will include: a two-channel video piece by William Lamson, who will explore a double mirror video project filmed on a boat; and a new walk by artist Carmen Papalia; and The Grass is Always Greener—a collaboration with art collective Fallen Fruit to bring fruit trees back to Buffalo’s Fruit Belt neighborhood.

During the exhibition, public programs and workshops will be scheduled to take place outside of the gallery walls, allowing visitors to experience their own form of wanderlust. A schedule of public programs will be posted closer to the opening of the exhibition.

Wanderlust: Actions, Traces, and Journeys 1967-2017 is organized by the University at Buffalo Art Galleries, Buffalo, New York and curated by Rachel Adams, UB Art Galleries Senior Curator. Wanderlust: Actions, Traces, and Journeys 1967-2017 and its publication are supported by Andy Warhol Foundation for the Visual Arts and the National Endowment for the Arts.

IMAGE: Janine Antoni. Touch, 2002. © Janine Antoni; Courtesy of the artist and Luhring Augustine, New York.

Wanderlust: Actions, Traces, Journeys 1967-2017

 

Geraldo de Barros at DOCUMENT (6)
Owner
Aron Gent
aron@documentspace.com
Director
Sibylle Friche
sibylle@documentspace.com
General Inquiries
info@documentspace.com

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DOCUMENT is a commercial gallery located in Chicago that specializes in contemporary photography, film and media based art. The gallery has organized more than 30 solo exhibitions since its opening in 2011 and actively promotes the work of emerging national and international artists. Operating conjointly as a professional printmaking studio, DOCUMENT facilitates the production of works by artists from Chicago and the US. At this time we do not accept unsolicited submissions.