CAPRA MAIA

PELE PEDRA PÓ articulates, declines and breaks down in different supports in the manner of a neo-Baroque allegory and nightmare. This CAPRA MAIA exhibition is a poetic “fiction” of the material, themes and motifs revisited by the artist. The circulation of meanings that pass through the veins of what constitutes it as a world or system allows its expography to be structured based on a view in which the staging - “placement in images” - expository, which is now proposed in A Pilastra , allow yourself to affect as a show [1] , ocularization of an interpretation of the artist's work.

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PELE PEDRA PÓ flexes in the spatiality of the gallery in three or four moments that seek to investigate what is the artist's writing. In the Antechamber or main room, indicative or leimotif appearances are drawn of what condenses the exhibition as an allegory of the artist's gaze on Art History.

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Here is the pictorial invoice of CAPRA MAIA in the prehistoric Bison, which is the texture of bitumen darkness, its twisted bundles as if to suggest textile convolutes that allude to a baroque Arthur Arthur (1945), the morbid face of medical science that occurs to see in the chassis drawing of the artist's body and in the case that is pharmakon - antidote and poison- that is next to her, in the furniture that survives the geological storm of marble dust, in her obsession to expand and expand the limits of painting, in its inclination towards the abyss of the layered times of archeology, paleontology, geology, in these shoes that dream up the gallery wall, in this Saint who revisits the fusion between body, skin and clothes that the drapery of the sculpture assumes in the Historical baroque.

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The logic of ruin as an object of the past and archaeological fetish is here ironically explicit in the work It Suits Me , displayed on the wall that precedes the gallery's corridor. Relicta - this “rest” of object- which is inscribed here as that which of a body as a work represents it fragmentarily. CAPRA MAIA's hair that weaves and weaves the meticulous coat contained therein is nothing but the melancholy memory of a presence only hinted at by what remains of it. A loss was made.

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It is the corridor that witnesses the subversion of the pictorial in the work that transmutes into a ceiling bar and descends apotheosis in the form of a cornucopia on the wall that borders the entrance to the O Ateliê room. It is a certain apprehension of the abstract that at the same time dominates and subverts the path that precedes entry into this room where “The History of Art” becomes a citational terrain. Joseph Beuys (1921-1986), one of the most decisive references in the work of CAPRA MAIA, materializes in these cases in which the German artist's quotation of mathematical vocabulary oscillates between reverence and irony.

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In O Ateliê , the times of Art History are convulsed spectrally and it is in this framework that the historical reference is made to the Baroque of Pieter Paul Rubens (1577-1640) and to his Medusa of 1618. It is also there that an item is located essential of the dress grammar of the period in Holland: the ruffles, which meander before the canvas revisited by CAPRA MAIA as if to replicate the vipers in the painting. Bench and easel covered in marble dust reaffirm the logic of a geological temporality, slow and long that stretches as a structuring reason for its artistic fictionalization.

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In the O Curtume room, the artist rummages through the soil of history, converts it into an archaeological site, rescues tones and textures from a poetic geology. There, the confirmation of his interest in the paleontology of the bone that the skin's fabric of art keeps and conceals is staged: its stone quality. It turns and twists in the bowels of the earth, takes care of what it returns, regurgitates and expels in the manner of a symptom that allegorically erupts from this mass of times that the earthy flesh revolves. From mud to fossil. Horn: flesh bone. Horned beasts, land of bones, which mourners mourn.

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PELE PEDRA PÓ questions the tyranny of the alleged and ascetic neutrality imposed by the white cube in favor of an explicitly theatrical aim, in what the theater shares with an amplified view of the Baroque beyond its historical prison. In this curatorial exercise, attentive listening and reading of a work in its poiesis is sought in what the gallery space accommodates as a possibility of showing the potentialities of meaning that this work contains. It is thus, as an allegorical fantasy of the gaze, that this show makes the artist's poetics and her expository transcreation [2] copulate.

 

 

 

[1] ALLOA, Emmanuel. Think the image. Authentic: Belo Horizonte, 2015.

 

[2] Term coined by brothers Augusto and Haroldo de Campos, poets associated with Brazilian Concretism to refer to the complex work that poetic translation implies.

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Marco Antônio Vieira

Curator

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