Rodrigo Torres - SIM GALERIA · Rodrigo Torres. Sem Título, 2017 Corte e colagem de cédulas sobre...

Rodrigo Torres

Sem Título, 2017

Corte e colagem de cédulas sobre papel algodão

[Cut and collage of bills on cotton paper]

40 x 40 cm

A Vastidão dos Mapas - Arte Contemporânea em Diálogo com Mapas da Coleção Santander Brasil,

curadoria Agnaldo Farias, Museu Oscar Niemeyer, Curitiba, 2017

[A Vastidão dos Mapas - Arte Contemporânea em Diálogo com Mapas da Coleção Santander Brasil,

curated by Agnaldo Farias, Museu Oscar Niemeyer, Curitiba, Brazil, 2017

A Vastidão dos Mapas - Arte Contemporânea em Diálogo com Mapas da Coleção

Santander Brasil, curadoria Agnaldo Farias, Museu Oscar Niemeyer, Curitiba, 2017

[A Vastidão dos Mapas - Arte Contemporânea em Diálogo com Mapas da Coleção

Santander Brasil, curated by Agnaldo Farias, Museu Oscar Niemeyer, Curitiba, Brazil, 2017

Flor de Estampa, 2015



Díptico [Diptych], 150 x 50 x 8 cm cada [each]

A Vastidão dos Mapas - Arte Contemporânea em Diálogo com Mapas da Coleção

Santander Brasil, curadoria Agnaldo Farias, Museu Oscar Niemeyer, Curitiba, 2017

[A Vastidão dos Mapas - Arte Contemporânea em Diálogo com Mapas da Coleção

Santander Brasil, curated by Agnaldo Farias, Museu Oscar Niemeyer, Curitiba, Brazil, 2017

Detalhe Flor de Estampa

[Flor de Estampa detail]

Mundinho, 2015



8 x 10 x 3 cm cada [each]

Esquecidos/Vassouras, 2014

Giz pastel, lápis de cor e verniz sobre vidro jateado

[Pastel, colored pencil and varnish on etched glass]

180 x 80 cm

Esquecidos/Caixa de Fósforo, 2014



20 x 12 cm

Esquecido, 2015



60 x 45 x 20 cm

Esquecido, 2015



140 x 515 x 35 cm

Trompe l’Oeil, SIM Galeria, Curitiba, 2015

[Trompe l’Oeil at SIM Galeria, Curitiba, Brazil, 2015]

TROMPE-L’OEIL | Felipe Scovino

The works collection for this exhibition is composed by different media and materials but mainly the language that shows up is painting. It is specifically a technique with perspective tricks that creates an optical illusion, by which the viewer wonders about the quality of reality. Without a precise date for its origin, with remote appearances in ancient Greece and Rome, the trompe-l’oeil is rescued by Rodrigo Torres.

Sistema de desinformação geográfica (Geographic misinformation system, 2015) is perhaps the series of works that cause more noise for the talkative eyes, if it is compared to a regular painting. But you should notice that, beyond the illusory character of space and volume, the artist performs a process that we could compare to the landscape painting. By superimposing several images - captured by search engines or documented by the artist himself - of landscapes, rocks, mountains and the neighborhoods of Rio de Janeiro, and then paste them, cut them, almost like carving them, and finally applying light touches, Torres does not only create volume and texture to the “landscape painting”, but he also creates an optical experience that scrambles our vision by pointing the proportion and the height of those highs. For now, these seem higher than they actually are and sometimes reflect a topography that correspond, saved the rating scale, to the real world. The sequencing of the cuts in the material surface creates layers or waves that vary depending on the depth and location of the cut, what becomes its dynamics. Its reliefs, scales and dimensions vary between fiction and reality, always based on the way we experience this optical game. The artist can accomplish the passage from the plan to the space, but casting doubt on the topographical qualities of space.

The Esquecidos series (Forgotten, 2014) opens another direction in this constant dialogue of Rodrigo Torres with painting. Here the still life is called into question. Objects that are ordinary or that make the artist’s routine up in his studio are drawn with pastels and crayons on glass plates. Approaching the Renaissance sfumato technique and leading it to a radicalization, the artist constructs an object that remains in a gray area: it is not present in a complete form, because it is almost disappearing in the fog. You cannot notice the lines and edges of the drawing as there are smooth differences between shades. This series lead to the Entulho installation (Rubble, 2015), which is presented now for the first time. The drawings in glass of a paint can, a shovel, a glue can, bricks and an electrical extension cord are

placed side by side. However, the glass plates that serve as support for the drawings are broken and part of them were put in front of the works, creating an illusion of depth and virtuality that is connected to the “geographical misinformation system”. Laughter occurs in the encounter with these works because Torres desacralizes specific and therefore historical conditions of painting. Far from being naive, the artist does not create tricks or an easy production model; he reflects on the contemporary state of painting. Saved their specificities, there are similarities to Jeff Koons’ Balloon Dogs (1994-2000) or any of its banal objects that seem to be made from a flexible material but are actually produced in steel. The biggest difference between the two artists is that laughter caused by Koons is for disappointment, and by Torres it is celebratory.

Still in the field of research on the history of painting, Amador (Amateur, 2014) reflects on the camouflage, concept also present in Torres’ artwork. A piece of cardboard used for warnings is bent and the stickers that sustain it are apparent. Pure fiction. It is an aluminum foil. Once again, there is the prospect of illusion as a starting point for his work. Through a dialogue with Pop Art and the neo-dadaists, especially Robert Rauschenberg’s Combine paintings (c. 1953-61), Torres expands the crisis of representation in painting. In the Combines, all sort of materials (steel, wood, aluminum, oil paint, paint can, sand, cardboard and even a stuffed goat), many found in the streets, was used on the screen, making us ask what could be qualified as color, shape, volume and texture, broadening the discussion on painting for a technique that also is made in space. Torres persists in this means experiment research that can be mistaken as an “avant-garde tradition” because the postwar production constantly encountered the problem of articulating the ordinary world, the daily life, in short, life, to the art phenomenon. I bring to this discussion not only Amador, but also the series Qualquer lixo (Any garbage, 2014) and Widescreen (2015), because all of them deal with qualities of contemporary painting: they are works permeated with errors, inaccuracies and falsehoods, since we mistake them with the most banal objects and have doubts on what is before us. Widescreen has another feature due to the fact its format similar to a plasma screen can also be associated with a Renaissance window, another reference to painting. Therefore, these works appear as puzzles, problems, and they are actions that spread the painting through space, reveal its illusory quality and ultimately its ability to be a constant renewal.

Mapas, Cartas, Guias e Portulanos, Sala de Arte Santander, São Paulo, 2016

[Mapas, Cartas, Guias e Portulanos at Sala de Arte Santander, São Paulo, Brazil, 2016]

Geographic Misionformation System, 2015

Impressão colorida, papel algodão, lápis

[Color print, cotton paper, pencil]

30 x 30 x 2 cm




41 x 51 x 9,5 cm

Trompe l’Oeil, SIM Galeria, Curitiba, 2015

[Trompe l’Oeil at SIM Galeria, Curitiba, Brazil, 2015]




40 x 60 x 4 cm




45 x 65 x 7,5 cm

Geographic Misionformation System, VOLTA Show NY, Nova York, 2015

[Geographic Misionformation System solo project at VOLTA Show NY, New York, 2015]

Trienal das Artes, SESC Sorocaba, São Paulo, 2014

[Trienal das Artes at SESC Sorocaba, São Paulo, Brazil, 2014]

Camafeu, 2011



80 x 100 cm

Isabel e Pedro, 2013



50 x 70 cm

Os Donos da Rua, 2013



60 x 160 cm

Uns Trocados, 2013



18,5 x 37,5 x 3 cm

Uns Trocados, 2013



25 x 31,5 x 3 cm

2 Tempos, 2008/2012

Acrílica sobre objetos e parede

[Acrylic on objects and walls]

Dimensões variáveis [Variable dimensions]

Convite à viagem - Rumos Itaú Cultural, Paço Imperial, Rio de Janeiro, 2012

[Convite à viagem - Rumos Itaú Cultural at Paço Imperial, Rio de Janeiro, Brazil, 2012]

Fotopografia Dimensional (Morro Dois Irmãos), 2010

Corte e colagem de impressões coloridas sobre papel algodão

[Cut and collage of c-prints on cotton paper]

30 x 30 x 6 cm

Fotopografia Dimensional (Aconcágua), 2010



30 x 30 x 6 cm

Detalhe Fotopografia Dimensional (Aconcágua)

[Fotopografia Dimensional (Aconcágua) detail]

Licancabur, 2013



6 x 60 x 60 cm

Conjugado, 2012

Fogo-fátuo, SIM Galeria, Curitiba

[Fogo-fátuo at SIM Galeria, Curitiba, Brazil]

Metro quadrado, Centro Cultural São Paulo, 2011

[Metro quadrado at Centro Cultural São Paulo, Brazil, 2011]

Impressão sobre pvc [Photo print on pvc]

Dimensões variáveis [Variable dimensions]

Rodrigo Torres

Nasceu no Rio de Janeiro, 1981 | Born in Rio de Janeiro, Brazil, 1981

Vive e trabalha no Rio de Janeiro | Lives and works in Rio de Janeiro, Brazil

FORMAÇÃO | EDUCATIONAL BACKGROUND

2016 Residência Vermont Studio Center, Vermont, USA

2014 Workshop O Processo Criativo, Parque Lage, Rio de Janeiro, Brazil

2010 Programa de Aprofundamento, Parque Lage, Rio de Janeiro, Brazil

2010 Curso básico de fotografia, Atelier da Imagem, Rio de Janeiro, Brazil

2006/10 Trabalhou como assistente do artista plástico Luiz Zerbini

2006/10 Acompanhamento de projetos com Franz Manata, Parque Lage, Brazil

2005 Trabalhou na conservação de obras de arte com André Alvim

2005 Curso “Arte Hoje”, com Márcio Botner e Bob N, Parque Lage, Rio de Janeiro, Brazil

2003 Faculdade de pintura na Escola de Belas Artes (EBA), UFRJ, Brazil

EXPOSIÇÕES INDIVIDUAIS | SOLO EXHIBITIONS

2016 Apreensão, Casa França Brasil, Rio de Janeiro, Brazil

2016 Sensor, A Gentil Carioca, Rio de Janeiro, Brazil

2016 Grana extra, Paço das artes, São Paulo, Brazil

2015 Trompe-l’oeil, SIM Galeria, Curitiba, Brasil

2012 Sensor, A Gentil Carioca, Rio de Janeiro, Brazil

2012 Grana Extra, Paço das Artes, São Paulo, Brazil

2011 m2, Programa de Exposições CCSP, São Paulo, Brazil

2011 Projeto solo U-Turn, Feira de Arte de Buenos Aires, Argentina

2009 Defeito, A Gentil Carioca, Rio de Janeiro, Brazil

EXPOSIÇÕES COLETIVAS | GROUP EXHIBITIONS

2017 A Vastidão dos Mapas - Arte Contemporânea em Diálogo com Mapas da Coleção

Santander Brasil, curated by Agnaldo Farias, Museu Oscar Niemeyer, Curitiba, Brazil

2017 Generations, curated by Douglas Fogle and Nicole Lees, MIART, Milan

2016 Constructedotherness, Latin America Art Show, London

2016 A Luz que vela o corpo é a mesma que revela a tela, Caixa Cultural, Rio de Janeiro

2016 Mapas, Cartas, Guias e Portulanos, Sala de Arte Santander, São Paulo, Brazil

2015 Vértice - Coleção Sérgio Carvalho, Centro Cultural Correios Rio de Janeiro, Brazil

2015 Constructed Otherness, Latin American Art Show - focus on works in paper, London

2014 Frestas - Trienal de Artes, SESC Sorocaba, São Paulo

2014 Intervenções Urbanas Bradesco Art Rio, Praça Paris, Rio de Janeiro, Brazil

2013 Parque das Transgressões, SIM Galeria, Curitiba, Brazil

2013 Fogo-fátuo, SIM Galeria, Curitiba, Brazil

2013 Um convite à viagem, Rumos Artes Visuais 2011-2013, Paço Imperial, Brazil

2012 O fio do abismo, Rumos, Casa das onze janelas, Belém, Brazil

2012 Volta ao dia em 80 mundos, Rumos, Centro Cultural Octo Marques, Goiânia, Brazil

2012 Um convite à viagem, Rumos, Itau Cultural SP, Brazil

2012 O Elogio da Vertigem, Maison Européenne de la Photographie, Paris

2012 O Elogio da Vertigem, Paço Imperial, Brazil

2011 Geração 00 A Nova Fotografia Brasileira, SESC Belenzinho, Brazil

2010 Arquivo Geral, Centro Cultural Hélio Oiticica, Brazil

2010 Crossing Borders, Building Bridges, Modified Arts, Phoenix, USA

2010 Sobre Ilhas e Pontes, Galeria Cândido Portinaari - UERJ, Brazil

2010 12° salão de artes de Itajaí, Brazil

2010 16° salão UNAMA de pequenos formatos, Galeria Graça Landeira, Belém, Brazil

2010 Prêmio Diário Contemporâneo de Fotografia, Museu da UFPA, Belém, Brazil

2009 Estranho Cotidiano, Galeria Movimento, Rio de Janeiro, Brazil

2009 Realidades Impossíveis, Atelier 397, São Paulo, Brazil

2009 Conexões, Centro de Cultura Raul de Leoni, Petrópolis, Brazil

2008 Realidades Impossibles, Fototeca Juan Malpica, Veracruz, México

2008 Diminuir as distâncias, Galeria de Arte Casarão, Viana, Brazil

2007 Diminuir as distâncias, III Reunião Ministerial, Focalal, Brasília, Brazil

2007 Ver e ser visto, Foto-Rio 2007, Espaço Repercussivo, Brazil

2007 Associados, Espaço Comercial, Brazil

2007 35° Salão de Arte Contemporânea Luiz Sacilotto, Santo André, Brazil

2007 Abre Alas, Galeria A Gentil Carioca, Rio de Janeiro, Brazil

2006 Arte Hoje, Parque Lage, Brazil

2005 Exposições “py” 1, 2, 3, realizadas em Niterói e no Rio de Janeiro, Brazil

PRÊMIOS | AWARDS

Residência artística em Vermont Studio Center, Estados Unidos, 2016

Prêmio Itamaraty de Arte Contemporânea, 2013

Prêmio Aquisitivo - 16º Salão Unama de Pequenos Formatos

COLEÇÕES | COLLECTIONS

Kadist Art Foundation, Paris, France

Coleção Itaú Cultural de Fotografia, São Paulo, Brazil

Coleção José Olympio, São Paulo, Brazil

MAR - Museu de Arte do Rio, Rio de Janeiro, Brazil

MON - Museu Oscar Niemeyer, Curitiba, Brazil

PUBLICAÇÕES | PUBLICATIONS

D. Busch, R. Klanten, H. Hellige. “The Age of Collage: Contemporary Collage in Modern

Art” pg., Berlim, 2013

“Amarello: Cultura Contemporânea”, número 9, primavera 2012

“Revista de História da Biblioteca Nacional”, ano 5, número 52; 2010

[email protected]

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