Galeria Leme

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GALERIA LEME PRESENTS ITS NFT COLLECTION

Zilvinas Kempinas. Spin #1, 2021. Vídeo | video. 1920 x 1080 px

Galeria Leme presents its digital art collection in NFT for the first time. With works by contemporary artists represented by Leme NFT such as Eduardo Kac, Gustavo Von Ha, João Angelini, Luiz Braga, José Carlos Martinat and Zilvinas Kempinas, the presentation seeks to give visibility for the production of digital art and strengthen this sector in Brazil. The opening will be on January 29, from 10 am to 5 pm, and remains on view until February 5. Throughout the week, the gallery’s team will be available to answer questions and talk to the public about this growing market.


The works on view are on the border between the material and the immaterial, the physical and the digital world, and sometimes they create a relationship of convergence and assimilation between the poetics developed by the artists and the new technologies, sometimes they present contradictions and friction.

“The aim is to open our digital art collection to bring the public closer to this production. At the same time, we want to show how this works can be displayed in different ways”, comments Franco Leme, creator of the initiative.

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Presentation of the Leme NFT collection

Dates: 01.29- 02.05.2022 / tuesday to friday – 10 am – 7 pm / saturday – 10 am – 5 pm
Where: Galeria Leme – St. Valdemar Ferreira, 130 – Butantã, São Paulo – SP
https://www.lemenft.com/
https://twitter.com/lemenft
https://www.instagram.com/galerialeme/

5 months ago

LEMENFT LAUCHES TUDO QUE É SÓLIDO… COLLECTION BY JOÃO ANGELINI ON FOUNDATION’S PLATFORM

LemeNFT launches today, on Foundation’s platform, the collection “Tudo que é sólido…”, by João Angelini. The set features nine photos, which were taken in the desert landscapes of the Brazilian Cerrado, resulting from the monoculture of grains in the region. In the center of the images, suspended in the air, a white marble cube composes the landscape.  

This series puts on the agenda issues related to territorial occupation, progress and ecology, which are amplified by the image of  the suspended cube, as a symbol of modernity. “Through the photographic gesture of the moment appropriation, the cube remains in integrity in the air, at the same time it falls into the eternity of the captured moment duration”, comments João Angelini.

check out the collection

6 months ago

REMAINS ON VIEW DARWIN: ORIGENS E EVOLUÇÃO WITH WORKS BY TIAGO SANT’ANA, AT FIESP

The exhibition Darwin: Origens e Evolução features the English biologist’s trajectory, contextualizing the species evolution’s theory elaboration process. The exhibition tells this story based on 332 pieces from natural history collections, artworks, creative installations and an immersive environment with soundtracks and pieces created especially for the show. Curated by estúdio M’Baraká, the exhibition remains on view until December 30, 2021.


The artist Tiago Sant’Ana participates with his work Cana Coluna, in which make plaster copies of sugarcane as a tactic to fossilize this organic material. “Metaphorically, making sugarcane eternal would not allow us to forget and erase from history the memories of plantations and their consequences in Brazilian social structures”, comments the artist.

Access the website for more information.

6 months ago

ERRATUM, SERIES OF NFTs BY EDUARDO KAC IS AVALIABLE ON TROPIX UNTIL THE END OF DECEMBER

ERRATUM 6

During December, two works of the series ERRATUM, by Eduardo Kac, are available for bids on Tropix platform. In this series, word pairs are seen in the field in which colour layers embody and dissolve the verb forms. The words are almost homophones and always suggest constrasting meanings.

ERRATUM 7

In the works, pieces of words are seen in a field and layered with colours that come together to dissolve the verbal forms. These images are hand-painted on a computer, tying back to Kac’s original intent to explore this different realm. Through this visual series, the artist showcases his concern for the negotiation of meaning, forcing the audience to question otherwise fixed definitions they have used. As the words emerge and dissolve on the screen we are left feeling that same external instability as his questions have triggered internally. 

Access Tropix website and make your bid!

6 months ago

FLÁVIO CERQUEIRA PARTICIPATES IN EXHIBITION AFRO-ATLANTIC HISTORIES AT MUSEUM OF FINE ARTS, HOUSTON

The exhibition Histórias Afro-atlânticas, exhibited at MASP in 2018, now arrives at the MFAH, USA. chega agora ao museu de arte de Houston, nos Estados Unidos. With more than 130 works of art and documents made in Africa, the Americas, the Caribbean, and Europe across 500 years, from the 17th century to the 21st century, the show explores the history and legacy of the transatlantic slave trade.

Flávio Cerqueira participates with Amnésia, in which he discusses the whitening process of Brazilian culture and memory. “In this sculpture, the paint, which represents whitening, is not enough to cover the entire boy. The character in the sculpture symbolizes the last person to undergo this process. The bronze, which has always used to represent historical moments, reinforces the relevance of this end”, comments the artist.

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Afro-Atlantic Histories

Dates: 10.24.2021 – 01.17.2022 / wednesday to sunday – from 11am

Where: MFAH – The Museum of Fine Arts, Houston

7 months ago

ON VIEW AT CCSP, REBECA CARAPIÁ PRESENTS HER NEW SERIES UM BARCO FEITO PARA AFUNDAR

Photo: Filipe Berndt

Rebeca Carapiá is one of participating artists in the 31st exhibition program at Centro Cultural São Paulo, which remains on view until February 27.

The artist presents the installation Topografias da Maré Soterrada [Buried Tide Topographies], a set of 15 iron sculptures and three canvases. “This work is the beginning of the research Um barco feito para afundar [A boat made to sink], which proposes a perspective view of Itapagipe Peninsula territory, in Salvador’s Cidade Baixa, Bahia”, says Carapiá.

Photo: Filipe Berndt

Itapagipe is a basin in Tainheiros inlet where the first Industrial Pole of Salvador was built, later becoming a sanitary landfill, where people – mostly migrants from the Recôncavo Baiano – lived and still live in unhealthy conditions in buildings known as Stilts. It was only in the 50s, after many deaths from poisoning, that the region began to be grounded because of the popular pressure. Faced with environmental and structural crime, its biome and its histories are drowned. In the depths of this land violated by the state and industrialization, there is a daily tension, especially between its residents and the flooding, which happens with any rain.

Photo Filipe Berndt

When I dive myself in the territory where I was born and raised, I try to listen to the tide and the terrain to create, through the encounter between body, memory, ancestry and materialities, topographies, surfaces and cracks, where the twisted iron and the copper of the canvases tell stories and reflect the Environmental Racism suffered by vulnerable territories that constitute the peripheries – at their material and sensitive level”, says the artist.

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31º programa de exposições do Centro Cultural São Paulo

Dates: 11.06.2021 a 02.27.2022 / Tuesday to friday, from 10 am to 8 pm / saturday, sunday and holidays, from 10 am to 6 pm.

Where: Rua Vergueiro 1000, São Paulo, Brasil

7 months ago

SANDRA GAMARRA PARTICIPATES IN GROUP EXHIBITION AT MUBE IN SÃO PAULO

The exhibition Por um sopro de fúria e esperança intends to share with the public the impacts of climate change and its social, historical, political and environmental consequences. Curated by Galciani Neves and Natalie Unterstell, the show seeks to listen to different cosmovisions, which observe and project extreme weather events, chronic water shortages, the advance of the sea over the coasts, decreased food productivity, extinction of species, etc. For that, it counts with works of about 165 artists, among them Sandra Gamarra.

The artist participates with the work Yacimiento [warehouse], in which she continues her method of appropriating images and questioning art through painting. In her installation, second-hand landscape paintings and mirrors are superimposed and propped against a wall in the exhibition space as if they were waiting to be hung, or packaged. Thus losing an independence conferred by the white cube.

Landscape painting emerged in European art in the 15th century, seeking to apprehend the reality of a territory through the representation of a wide view that contemplated the local fauna and flora. Very quickly, this genre becomes synonymous with reality. Sandra Gamarra highlights how this conception of reality is partial, which, pretending to be neutral, excludes other cosmovisions. In pre-Columbian cultures, for example, nature was represented in a symbolic and abstract way, because rees, animals and rivers were considered deities, who coexisted with men and were worshiped by them.

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Por um sopro de fúria e esperança, group show

Dates: 10.30.2021 – 01.30.2022 / wednesday to sunday – 11am – 5 pm

Where: MuBE – St. Alemanha, 221 – Jd. Europa, São Paulo – SP / previously scheduled visits only

7 months ago

CALDER NOW: ALEXANDER CALDER’S LAST AND UNMISTAKABLE INFLUENCE ON CONTEMPORARY ART

On November 21, the group exhibition Calder Now opens at the Kunsthal Rotterdam, in the Netherlands. Curated by Dieter Buchhart, Anna Karina Hofbauer and the Calder Foundation, the show explores master sculptor Alexander Calder’s enduring and unmistakable influence on contemporary art, placing over twenty of his sculptures alongside works by ten prominent artists: Olafur Eliasson, Žilvinas Kempinas, Simone Leigh, Ernesto Neto, Carsten Nicolai, Aki Sasamoto, Roman Signer, Monika Sosnowska, Sarah Sze and Rirkrit Tiravanija. The show remains on view until May 2022.

Alexander Calder (United States, 1898-1976) instigated many revolutionary artistic innovations. In his quest to move beyond the three spatial dimensions—making the fourth dimension of time a prominent and indispensable element of his work—Calder succeeded in transforming the contemporary understanding of sculpture. He was the first to remove sculpture from its pedestal, suspending it in mid-air. With his dynamic mobiles that were able to move freely in space, he was one of the initiators—alongside artists such as Marcel Duchamp and László Moholy-Nagy—of the kinetic art movement that revolutionized the static nature of art at the beginning of the twentieth century. Calder became a source of inspiration for subsequent generations of artists.

The ten international artists in ‘Calder Now’ show pieces that could not have existed without the precedence of various innovative aspects from Calder’s visionary body of work. The exhibition leads the visitor through a multisensory experience.Olafur Eliasson, for instance, uses natural phenomena such as light to explore perception. Simone Leigh tells stories about the American history of slavery through the media of humble materials. And Monika Sosnowska transforms architectural materials into unexpected, gravity-defying sculptures, creating new visual connections between her art and the exhibition space. 2007 Calder Prize laureate Žilvinas Kempinas, whose sculptures are at the intersection of installation and kinetic art, will debut a new piece for ‘Calder Now’. Similarly, Aki Sasamoto will create a new performance work especially for the exhibition during her residency at Atelier Calder, which operates out of Calder’s home and studio in Saché, France. The exhibition shows how Calder’s legacy continues to inspire and inform contemporary practice fifty years after the artist’s death. These groundbreaking artists invite new conversations and interpretations of his oeuvre.

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Calder Now, group show

Dates: 11.21.2021 – 05.29.2022 / tuesday to sunday – 10am – 5pm

Where: Kunsthal – Museumpark, Westzeedijk 341 -3015 AA Rotterdam, Netherlands

7 months ago

FOUND MONOCHROMES, BY DAVID BATCHELOR, DISCUSSES ABSTRACTION IN THE URBAN LANDSCAPE

Found Monochromes show at HOP project/ CT20 remains on view until November 11th. Curated by Nina Shen-Poblete, the exhibition features an installation on two screens, by David Batchelor, with photographs of blank, white, rectangular panels that he finds in the streets of the cities he visits, from London to Sāo Paulo.

Since 1997, David Batchelor has been photographing blank, white, rectangular panels, while he started looking at how abstraction is embedded in the urban fabric, the series has grown – with more than 600 images – into a far more personal project, a psychological map of each city he visits. 

The monochromes of the street are occasional, often inadvertent and always temporary. For Batchelor they are moments of blankness in an otherwise saturated visual landscape; rectangular planes of nothingness that can also appear as voids at the centre of the field of vision. As such they are like errors: a space where there shouldn’t be a space, an absence where there should be a presence.

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FOUND MONOCHROMES, by David Batchelor

Dates: 10.22 – 11.11.2021 / Tuesday to Sunday – 11am – 5pm

Where: HOP Projects / CT20

7 months ago

FREDERICO FILIPPI IS PART OF THE EXHIBITION ECOLOGÍAS RADICALES OF BIENALSUR

The exhibition Ecologías Radicales focuses on the exploitation of natural resources and extractivism in threatened territories issues. Curated by Benedetta Casini and Taina Azeredo, the show runs until December 5 at Museo Marco, in Buenos Aires, Argentina. As part of the BienalSur program, the exhibition features works by eight artists, including Frederico Filippi, who participates with the work Direito de Resposta [Right of Reply].

Direito de resposta is part of a trilogy of works that deals with infiltrations at specific places that are related to the official version on the discovery of America history. “I have chosen to carry out interventions in the main documental source of this event in Europe, it means Madrid, such as squares, monuments, commemorative plaques, museums, etc.”, says the artist.

Filippi has subtracted part of a bronze plaque that was attached to the ground in the monumental complex of Jardines del Descobrimiento [Discovery Gardens] and, after melting it, he transformed it into another plaque with the words: Al final del océano estava el abismo [At the end of the ocean was the abyss], which was reinserted into the site.  

“Using the same metal as base, this new plaque is infiltrated in the official discourse circuit to discuss its historical value as a communication source, also representing the medieval fear of navigators when facing the abyss of the un- known Atlantic Ocean”, complements Filippi. 

Until March 2015, the plaque had not yet been perceived and withdrawn by the management.

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Exposição Ecologías Radicales 

October 8 to December 5, 2021

Wednesday to Sunday, from 11 am to 7 pm. Free access

Museo MARCO | Almirante Brown 1031, La Boca, Ciudad Autónoma de Buenos Aires, Argentina

8 months ago