150 x 250 cm
Marcelo Cidade interrogates the city, architecture and urban planning. This architectonic drawing proposes modular possibilities, adaptable variations based on the form of the concrete block (a material which is often actually integrated in his practice). The “re-definition” announced in the title is in construction, in process, under development, in flux. The investigation appears incomplete, but potentially infinite, therefore full of potential. This work is like a claim for the competence of artists to contribute to new visions for society, like a hymn to their capacity for imagination within a larger debate. Cidade offers abstract viewpoints on real societal questions to do with housing and propriety development while pointing to an urgent need for revisiting Brazilian history of Modernist architecture and Neoconcretism.
Marcelo Cidade is an artist of situations, if not a Situationist of a new age, as he drifts through city streets around the world creating actions, interventions, films, photographs or drawings. His interests lie in the possibilities of public space and its connection with the private sphere, he resists forms of constraint and moves freely within the human community and through urban environments. Questioning systems and working in the peripheries or interstices allows Cidade poetic freedom in his artistic practice and open engagement with language, art history and politics. In 2005, he wrote “To resist = to (re) exist” 2000 times in downtown São Paulo.
This series of photographs, Sobre la igualdad y las diferencias: casas gemelas (On Equality and Differences: Twin Houses) , taken in Havana in 2005, belongs to a wider group of works that the artist has been developing over many years, generally titled Bifurcaciones y encrucijadas (Forking Paths and Crossroads) ...
Yo también soy humo (I am also smoke) is a 16mm film that has been digitized to video...
Clarissa Tossin’s film Ch’u Mayaa responds to Frank Lloyd Wright’s Hollyhock House (constructed 1919–21) in Los Angeles, an example of Mayan Revival architecture...
Adição por subtração 4 (Addition by Subtraction, 2010) is an intervention into the white cube with both beautiful and intimidating results...
This series of photographs, Sobre la igualdad y las diferencias: casas gemelas (On Equality and Differences: Twin Houses) , taken in Havana in 2005, belongs to a wider group of works that the artist has been developing over many years, generally titled Bifurcaciones y encrucijadas (Forking Paths and Crossroads) ...
Eileen Quinlan’s abstracted images, like Swipe , rely on the manipulation of photographic materials inside the studio itself, and reject the exterior world for complex interrogations of the medium....
In 2010, Kadist Art Foundation, David Roberts Foundation and Nomas Foundation successively presented an exhibition of the work of Etienne Chambaud in collaboration with Vincent Normand: The Siren’s Stage / Le Stade des Sirènes...
Adição por subtração 4 (Addition by Subtraction, 2010) is an intervention into the white cube with both beautiful and intimidating results...
This series of photographs reflects Marcelo Cidade’s incessant walks or drifting through the city and his chance encounters with a certain street poetry like the Surrealists or Situationists before him...
Marcelo Cidade’s sculpture Abuso de poder (Abuse of Power, 2010) is a mousetrap elegantly crafted in Carrara marble...
450 Hayes Street (excavation site) by Marcelo Cidade is a large scale photograph documenting the artist’s excavation of a parking lot located at 450 Hayes Street in San Francisco, a former section of the city’s Central freeway and current condominium site...
Lara uses things readily at hand to create objects and situations that interrogate the processes of art and the spectrum of roles that art and artists play in society...
Taking archaeology as her departure point to examine the trajectories of replicated and displaced objects, “Who will measure the space, who will tell me the time?” was produced in Oaxaca for her exhibition of the same title at the Contemporary Museum of Oaxaca (MACO) in 2015...
With Roca Carbón (Charcoal Rock, 2012) and Roca Grafito ( Graphite Rock , 2012), López plays with our relationship to inert and unremarkable objects such as rocks...