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
Corte e colagem de cédulas sobre papel algodão
[Cut and collage of bills on cotton paper]
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
Mundinho, 2015
Corte e colagem de cédulas sobre papel algodão
[Cut and collage of bills on cotton paper]
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
Giz pastel, lápis de cor e verniz sobre vidro jateado
[Pastel, colored pencil and varnish on etched glass]
20 x 12 cm
Esquecido, 2015
Giz pastel, lápis de cor e verniz sobre vidro jateado
[Pastel, colored pencil and varnish on etched glass]
60 x 45 x 20 cm
Esquecido, 2015
Giz pastel, lápis de cor e verniz sobre vidro jateado
[Pastel, colored pencil and varnish on etched glass]
140 x 515 x 35 cm
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
Geographic Misionformation System, 2015
Impressão colorida, papel algodão, lápis
[Color print, cotton paper, pencil]
41 x 51 x 9,5 cm
Geographic Misionformation System, 2015
Impressão colorida, papel algodão, lápis
[Color print, cotton paper, pencil]
40 x 60 x 4 cm
Geographic Misionformation System, 2015
Impressão colorida, papel algodão, lápis
[Color print, cotton paper, pencil]
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
Corte e colagem de cédulas sobre papel algodão
[Cut and collage of bills on cotton paper]
80 x 100 cm
Isabel e Pedro, 2013
Corte e colagem de cédulas sobre papel algodão
[Cut and collage of bills on cotton paper]
50 x 70 cm
Os Donos da Rua, 2013
Corte e colagem de cédulas sobre papel algodão
[Cut and collage of bills on cotton paper]
60 x 160 cm
Uns Trocados, 2013
Corte e colagem de cédulas sobre papel algodão
[Cut and collage of bills on cotton paper]
18,5 x 37,5 x 3 cm
Uns Trocados, 2013
Corte e colagem de cédulas sobre papel algodão
[Cut and collage of bills on cotton paper]
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]
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
Corte e colagem de impressões coloridas sobre papel algodão
[Cut and collage of c-prints on cotton paper]
30 x 30 x 6 cm
Licancabur, 2013
Corte e colagem de impressões coloridas sobre papel algodão
[Cut and collage of c-prints on cotton paper]
6 x 60 x 60 cm
Licancabur, 2013
Corte e colagem de impressões coloridas sobre papel algodão
[Cut and collage of c-prints on cotton paper]
6 x 60 x 60 cm
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]
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
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