junho 19, 2019
Brígida Baltar + Cristina Canale + Karin Lambrecht na Nara Roesler NY, EUA
A Galeria Nara Roesler | New York tem o prazer de apresentar The Woman Who Walks With Me, exposição composta por uma seleção de obras recentes de três renomadas artistas mulheres brasileiras: Brígida Baltar (Rio de Janeiro, 1959); Cristina Canale (Rio de Janeiro, 1961); e Karin Lambrecht (Porto Alegre, 1957).
A articulação entre as obras reunidas na mostra coloca em evidência a perspectiva poética dessas artistas sobre questões que são centrais em suas carreiras e recorrentes na atualidade, como o corpo, a noção de identidade feminina e seus estereótipos e a memória afetiva associada a aspectos como família e origem.
Enquanto Baltar apresenta através de seus trabalhos em bordado e cerâmica esmaltada uma reflexão sobre o corpo como espaço sensível, meio de relação consigo mesma e o mundo ao redor, Canale propõe em pinturas que recuperam a herança do gênero do retrato um debate sobre modelos de identificação. Por sua vez, as investigações de Lambrecht sobre cor e luz colocam o corpo como lugar de lembranças e possível veículo de contato com a transcendência.
O título da exposição é inspirado em um conhecido verso da poeta brasileira Hilda Hilst (1930-2004), cuja obra é marcada por aspectos de força poética que ressoam no trabalho das três artistas em exibição.
Galeria Nara Roesler | New York is pleased to present The Woman Who Walks With Me, a group exhibition featuring work by Brígida Baltar, Cristina Canale, and Karin Lambrecht.
The Woman Who Walks With Me looks at the poetics at the core of the three artists’ practices as they engage the body, the notion of female identity and its stereotypes, and memory of family and origin.
Baltar’s embroidery and enameled ceramic works reflect on the bo dy as sensorial space, and a means of relating to oneself and the wider world. Canale’s paintings dialogue with the history of portraiture and representation. Lambrecht’s investigations of color and light approach the body as a repository of memory and a vehicle for transcendence.
The exhibition title is inspired by a famous verse by Brazilian poetess Hilda Hilst (1930-2004), whose oeuvre is marked by aspects of poetic strength that resonate in the work of the three featured artists.
Brígida Baltar was born in 1959 in Rio de Janeiro, RJ, Brazil, where she lives and works. Baltar began her career in the early 1990s with performances characterized by small and intimate gestures. The artist carried out her work inside her home, which doubled as her studio, always confining her acts to a space she had a deep relationship with. Baltar’s performances were documented and accompanied by photographs, videos, drawings, sculptures, and installations, always exploring issues from her own life and experimenting with the relationship between the body and space, and the body as a space. Most recently, the artist has been studying these same themes through manual work, such as embroidery, in which the surface of the fabric usually refers to her own skin, and ceramic sculptures, where she seeks to establish a connection between bodily forms and the earth. Her work has been included in numerous exhibitions worldwide including: Neither-nor: Abstract Landscapes, Portraits and Still Lives, Terra-Art Project, London, UK (2017); the 10 th Bienal do Mercosul, Porto Alegre, RS, Brazil (2015); Cruzamentos: Contemporary Art in Brazil, Wexner Center for the Arts, Columbus, OH, USA (2014); and The Peripatetic School: Itinerant Drawing from Latin America, Middlesbrough Institute of Modern Art, Middlesbrough, UK (2011). Baltar’s work is represented in the permanent collections of the Museum of Contemporary Art, Cleveland, USA; Colección Isabel y Agustín Coppel, Mexico City, Mexico; Middlesbrough Institute of Modern Art, Middlesbrough, UK; Museu de Arte Contemporânea da Universidade de São Paulo, São Paulo, SP, Brazil; Museu de Arte Moderna do Rio de Janeiro, Rio de Janeiro, RJ, Brazil; Pinacoteca do Estado de São Paulo, São Paulo, SP, Brazil; among others.
Cristina Canale was born in 1961 in Rio de Janeiro, RJ, Brazil, and lives and works in Berlin, BE, Germany. Since the 1980’s, when she came to prominence in her native Brazil as a part of the “80’s Generation”, Canale has been combining abstraction and representation in her mixed-media paintings on canvas, exploring, over decades of evolving work, the history of painting and its continuing development. Her early work is muscular, washed in dark hues and filled with bold lines and impasto passages of paint. In the mid-1990’s, she moved to Germany to study at the Düsseldorf Academy of Arts, where she began to lighten her color palette and soften her approach. Her current works reveal influences of Fauvism, Post-Impressionism, and Neo-Expressionism, while their subjects—landscapes, figures, domestic scenes, dogs, and cats—recall pre- and early-Modern themes. In all of her work, Canale merges the literal and the lyrical, celebrating the malleability and magic of her medium. Solo exhibitions include: Cristina Canale: Zwischen den Welten, Kunstforum. Markert Gruppe, Hamburg, Germany (2015); Entremundos, Paço Imperial, Rio de Janeiro, RJ, Brazil (2014); Arredores e Rastros, Museu de Arte Moderna do Rio de Janeiro (MAM Rio), Rio de Janeiro, RJ, Brazil (2010); and Cristina Canale, Instituto Tomie Ohtake, São Paulo, SP, Brazil (2007). She participated in the 21 st Bienal de São Paulo (1991), in which she was awarded with the Prêmio Governador do Estado [Governor State Prize]. Her works are in the collections of Museu de Arte Moderna do Rio de Janeiro (MAM Rio), Rio de Janeiro, RJ, Brazil; Coleção João Sattamini – Museu de Arte Contemporânea de Niterói (MAC-Niterói), Niterói, RJ, Brazil; Instituto Itaú Cultural, São Paulo, SP, Brazil; Museu de Arte Contemporânea da Universidade de São Paulo (MAC-USP), São Paulo, SP, Brazil; and Pinacoteca do Estado de São Paulo, São Paulo, SP, Brazil.
Karin Lambrecht was born in 1957 in Porto Alegre, RS, Brazil, and has been based in Broadstairs, Kent, UK since 2017. Straddling painting and sculpture, art and politics, the work of Lambrecht references Arte Povera and Beuys but most essentially embodies the gestural abstraction of her 1980’s generation. Using vibrant, self-produced pigments, Lambrecht applies broad, gestural brushstrokes to hand-stitched, frameless, torn, and burned canvases, incorporating organic materials such as animal blood, charcoal, and earth. Her recurring motifs include crosses, the human body, and handwritten or stamped words that peak out from layers of paint evoking illness, death, and cure. The notion of healing, especially as embodied by color, lies at the core of her work. Most recently, Lambrecht’s work was the subject of a survey exhibition at Instituto Tomie Ohtake (ITO), São Paulo, titled Karin Lambrecht – Entre nós uma passagem (2018-19), and a solo exhibiton at Espaço Cultural Santander, in her hometown of Porto Alegre, titled Nem eu, Nem tu: Nós (2017). Her works are included in the collections of the Instituto Figueiredo Ferraz (IFF), Ribeirão Preto, SP, Brazil; the Pinacoteca do Estado de São Paulo, São Paulo, SP, Brazil; and the Instituto Itaú Cultural, São Paulo, SP, Brazil; among others.