{"id":41946,"date":"2019-08-08T15:33:48","date_gmt":"2019-08-08T18:33:48","guid":{"rendered":"https:\/\/galerialeme.com\/?post_type=expo&p=41946"},"modified":"2025-01-15T10:22:25","modified_gmt":"2025-01-15T13:22:25","slug":"interiors-portraits-and-landscapes","status":"publish","type":"expo","link":"https:\/\/galerialeme.com\/en\/expo\/interiors-portraits-and-landscapes\/","title":{"rendered":"Interiors, portraits [and landscapes]"},"content":{"rendered":"","protected":false},"featured_media":51308,"template":"","meta":{"_acf_changed":false,"_seopress_robots_primary_cat":"","_seopress_titles_title":"","_seopress_titles_desc":"","_seopress_robots_index":"","_uag_custom_page_level_css":"","footnotes":""},"expo_year":[81],"class_list":["post-41946","expo","type-expo","status-publish","has-post-thumbnail","hentry","expo_year-2019-en"],"acf":[],"spectra_custom_meta":{"_wpml_word_count":["{\"total\":0,\"to_translate\":{\"en\":2,\"pt-br\":2}}"],"_edit_lock":["1736958281:7"],"_edit_last":["7"],"_wpml_media_featured":["1"],"_wpml_media_duplicate":["1"],"_last_translation_edit_mode":["translation-editor"],"leme_artist":["Luiz Braga"],"_leme_artist":["field_6436bf3605737"],"expo_description":["Galeria Leme is pleased to announce the fourth solo exhibition of the photographer Luiz Braga in its\u00a0space. The exhibition is accompanied by a\u00a0text by Tadeu Chiarelli.\r\n\r\n \r\n\r\nLuiz Braga: interiors, portraits [and landscapes]\r\nTadeu Chiarelli<\/strong>\r\n\r\n\u201cWhat directs my observation of Luiz Braga\u2019s photographs? Firstly, the photographer\u2019s treatment of light: what really stands out in his work, it seems to me, is the manner with which he constructs his images through the contrast (sometimes subtle, sometimes sharp) between artificial and natural light, a feature which gives rise to a spectrum of different colors capable of prompting sensations of familiarity and strangeness. This is the process through which Braga denatures photographic \u201ctruth\u201d \u2013 when he denounces its artificial dimension.\r\n\r\nFor years the artist has been deepening his inquiry into the photographic image, with emphasis on its false construction. At a first stage, his efforts towards it are notable \u2013 by means of a drastic \u201cparing down\u201d of the objects which are to be photographed, reducing them to \u201cpure\u201d and decontextualized forms which underscore the interior logic of the chosen framing, removing from them the more notable elements of time and place.\u00a0Cambur\u00f5es coloridos, 1976, is an example. What defines this image\u2019s authenticity isn\u2019t its context: it matters little whether it was taken in Bel\u00e9m do Par\u00e1 or Palestinian Bethlehem \u2013 what really matters, in the final result, is the internal coherence of the forms in relation to light and color. Was it shot in Bel\u00e9m do Par\u00e1? This is an \u201coff-frame\u201d detail, a curiosity for those who enjoy spinning narratives around an image.\r\n\r\nIn the course of his career as a photographer, Braga also experimented with other strategies, in the sense of denaturing \u201cphotographic veracity\u201d, one of which was the rejection of industry instructions for the use of certain types of film.\u00a0\u00c1rvore em Mosqueiro\u00a0(Tree by a Mosque), 1991, is a fine example of this process: produced in earnest disobedience of industry instructions, the image before us does not offer the experience of \u201cnorthern colors\u201d, nor the \u201clight of the Mosque\u201d etc., what we experience instead is the light and the color of photographic film itself, instrumentalized by the artist in so that the image gains autonomy over the referent.\r\n\r\nAll of this, however, predated the advent and dissemination of digital photography. Once adapted to this new technology, Braga sought, as was expected, to make full use of the possibilities offered by this new medium, incorporating them into his poetics. Thus, if the artist had obtained the effects that are so characteristic of his images by means of \u201cundisciplined\u201d use of the best films sold the world round, he will, from then on, seek to find similar results in the manipulation of the digital camera\u2019s previously established tools.\r\n\r\nThe images Braga produced by the free use of the night vision feature became well-known, especially those that transformed the landscape of Par\u00e1 into gelid scenes frozen in time \u2013 extremely ironic parodies of the incessant search for the \u201cvery typical\u201d, with which many photographers still hope to adjectivize their productions relative to a profound and abjectly-destitute Brasil.\u00a0Igarap\u00e9 do Macaco, 2007, is a perfect example of this moment: a \u201ctypical\u201d northern landscape (is there anything more \u201cnorthern\u201d than an\u00a0igarap\u00e9 [a narrow, shallow, river tributary in the Amazon]?) transformed into a frozen wasteland, reminiscent of a polar expedition, dream segueing into nightmare. Paradise turned dystopia, recovering, thus \u2013 in a unique manner \u2013, Braga\u2019s need for distancing himself from the referent, complicating the perseverance of the spectator\u2019s belief in the myth of photographic truth.\r\n\r\nLuiz Braga: interiors, portraits [and landscapes]\u00a0is set against the artist\u2019s other axis of production, in which the discreet manipulation of the photographic medium is present only in order to accentuate the artist\u2019s ability to operate with light and color, in situations which are sometimes subtle, sometimes sharp. The photographs that were chosen to highlight these characteristics are interior scenes and portraits, for it is precisely in these kinds of photographs that the sense of communion between photographer and individual, or photographer and the place he portrays, reaches one of the high points in Braga\u2019s career.\r\n\r\nThe interior scenes in this exhibit are those in which people (when they are present) were captured during the course of some activity or other (or simply at rest), in a more somber and sheltered foreground, while the external environment is full of light. In the empty scenes, paradoxically, the presence of these inhabitants permeates every detail: the arrangement of objects, the attention to the smallest details, all of it recreated by light, by the saturation of this or that area of the image, revealing, once again, the photographer\u2019s empathy with his surroundings and its occupants.\r\n\r\nSuch empathy can also be found in the portraits: in these, the character always emerges wrapped in grandiose solemnity, even when he or she is absorbed in some form of action, or is deep in thought. By portraying these characters, Braga in a sense embraces them as a sign of respect and communion. Nevertheless, even if his wish for unity tends to show through in every portrait, Braga, it seems, never forgets that the image is produced not by the mere capturing of the real, or of his feelings towards what or who is depicted, but by the recreation of all these phenomena as language.\r\n\r\nI believe that, in this exhibition, the artist is \u201ccaught\u201d or \u201cspotted\u201d (to use a photographic metaphor) at another high point of his career, at a moment in which his skills shine through with mastery, resulting from the sheer amount of work he has put in, as well as his own critical view on the photographic image and his empathy for those he depicts. Such mastery, however, does not indicate the crystallization of procedures, nor does it mean the artist will get too comfortable with the successful results he has achieved.\r\n\r\nIn view of the exploratory dimension of Luiz Braga\u2019s photographic process, we should expect other paths to develop in his future work. We shall wait.\u201d\r\n\r\n \r\n\r\nAbout the artist:<\/strong>\r\n\r\nLuiz Braga. Bel\u00e9m, Brazil, 1956. Lives and works in Bel\u00e9m, Brazil.\r\n\r\nAmong his solo shows:\u00a0Retumbante Natureza Humanizada, Vila Cultural Cora Coralina, Goi\u00e2nia, Brazil (2017); Sideral, Galeria Leme, S\u00e3o Paulo, Brazil (2016); Retumbante Natureza Humanizada, SESC Pinheiros, S\u00e3o Paulo, Brazil (2014); Nightvisions, Galeria Leme, S\u00e3o Paulo, Brazil (2012); Solitude, Museu da UFPA, Bel\u00e9m, Brazil (2011); Luiz Braga, o percurso do olhar, Museu de Arte Contempor\u00e2nea Casa das Onze Janelas, Bel\u00e9m, Brazil (2010); Estrada Nova S\/N, Pr\u00eamio Porto Seguro de Fotografia, S\u00e3o Paulo, Brazil (2010); Vagalume, Galeria Leme, S\u00e3o Paulo, Brazil (2009); Retratos Amaz\u00f4nicos, Museu de Arte Moderna de S\u00e3o Paulo, S\u00e3o Paulo, Brazil (2005), among others.\r\n\r\nGroup shows:\u00a0Fotografia em Transe, Museu da Fotografia Cidade de Curitiba, Curitiba, Brazil (2018); Hist\u00f3rias Afro-Atl\u00e2nticas, MASP and Instituto Tomie Ohtake, S\u00e3o Paulo, Brazil (2018); Modos de Ver o Brasil: Ita\u00fa Cultural 30 Anos, Oca, S\u00e3o Paulo, Brazil (2017); Antilogias, Pinacoteca do Estado de S\u00e3o Paulo, S\u00e3o Paulo, Brazil (2017); Entre n\u00f3s: a figura humana no acervo do MASP, MASP- Museu de Arte de S\u00e3o Paulo Assis Chateaubriand, S\u00e3o Paulo, Brazil (2017); Centro Cultural Banco do Brasil, Rio de Janeiro, Belo Horizonte, Bras\u00edlia, Brazil (2017); Hist\u00f3rias da Inf\u00e2ncia, MASP \u2013 Museu de Arte de S\u00e3o Paulo Assis Chateaubriand, S\u00e3o Paulo, Brazil (2016); Fronteiras Incertas: Arte e Fotografia no Acervo do MAC USP, MAC USP, S\u00e3o Paulo, Brazil (2014); Poder Provis\u00f3rio, Fotografias do acervo do MAM, Museu de Arte Moderna, S\u00e3o Paulo, Brazil (2014); Um Olhar sobre o Brasil \u2013 A Fotografia na Constru\u00e7\u00e3o da Imagem da Na\u00e7\u00e3o, Centro Cultural Banco do Brasil, Belo Horizonte, Brazil (2013); Contemporary Brazilian Photography, Shiseido Gallery, Tokyo, Japan; O Elogio da Vertigem: Cole\u00e7\u00e3o Ita\u00fa de Fotografia Brasileira, Maison Europ\u00e9enne de la Photographie, Paris, France (2012), among others.\r\n\r\nCollections:\u00a0P\u00e9rez Art Museum, Miami, USA; Photographic Resource Center at Boston University, Boston, USA; Statoil Art Collection, Oslo, Norway; Pinacoteca do Estado de S\u00e3o Paulo; Brazil; MAC\/USP, S\u00e3o Paulo, Brazil; MASP (Pirelli Collection\/MASP of Photography), S\u00e3o Paulo, Brazil; Modern Art Museum of S\u00e3o Paulo \u2013 MAM, Sao Paulo, Brazil, among others.\r\n\r\n \r\n\r\nClick here<\/a>\u00a0for the exhibition preview."],"_expo_description":["field_64442aea60f9a"],"gallery":["a:19:{i:0;s:5:\"41947\";i:1;s:5:\"41949\";i:2;s:5:\"41951\";i:3;s:5:\"41953\";i:4;s:5:\"41955\";i:5;s:5:\"41957\";i:6;s:5:\"41959\";i:7;s:5:\"41961\";i:8;s:5:\"41963\";i:9;s:5:\"41965\";i:10;s:5:\"41967\";i:11;s:5:\"41969\";i:12;s:5:\"41971\";i:13;s:5:\"41973\";i:14;s:5:\"41975\";i:15;s:5:\"41977\";i:16;s:5:\"41979\";i:17;s:5:\"41981\";i:18;s:5:\"41983\";}"],"_gallery":["field_6436be9722a75"],"videos":[""],"_videos":["field_644491b47cb7e"],"leme_visit":[""],"_leme_visit":["field_6436bb780169e"],"text_expo":[""],"_text_expo":["field_6436bf9def280"],"files":[""],"_files":["field_64453629d51d1"],"leme_begin":["20190817"],"_leme_begin":["field_64442ce3d3a50"],"leme_end":["20191011"],"_leme_end":["field_64442d00d3a51"],"_thumbnail_id":["51308"],"expo_catalog_expo_catalog_text":[""],"_expo_catalog_expo_catalog_text":["field_6447bb26033f7"],"expo_catalog_expo_catalog_file":[""],"_expo_catalog_expo_catalog_file":["field_6447bb3f033f8"],"expo_catalog":[""],"_expo_catalog":["field_6447bac1033f6"],"leme_artist_coletivo":["0"],"_leme_artist_coletivo":["field_649b22d81cddd"],"_yoast_indexnow_last_ping":["1743502808"],"_yoast_wpseo_primary_expo_year":[""],"_yoast_wpseo_content_score":["30"],"_yoast_wpseo_focuskeywords":[""],"_yoast_wpseo_keywordsynonyms":[""],"_yoast_wpseo_estimated-reading-time-minutes":["12"],"_uag_css_file_name":["uag-css-41946.css"],"_uag_page_assets":["a:9:{s:3:\"css\";s:263:\".uag-blocks-common-selector{z-index:var(--z-index-desktop) !important}@media (max-width: 976px){.uag-blocks-common-selector{z-index:var(--z-index-tablet) !important}}@media (max-width: 767px){.uag-blocks-common-selector{z-index:var(--z-index-mobile) !important}}\n\";s:2:\"js\";s:0:\"\";s:18:\"current_block_list\";a:7:{i:0;s:11:\"core\/search\";i:1;s:10:\"core\/group\";i:2;s:12:\"core\/heading\";i:3;s:17:\"core\/latest-posts\";i:4;s:20:\"core\/latest-comments\";i:5;s:13:\"core\/archives\";i:6;s:15:\"core\/categories\";}s:8:\"uag_flag\";b:0;s:11:\"uag_version\";s:10:\"1776444491\";s:6:\"gfonts\";a:0:{}s:10:\"gfonts_url\";s:0:\"\";s:12:\"gfonts_files\";a:0:{}s:14:\"uag_faq_layout\";b:0;}"]},"uagb_featured_image_src":{"full":["https:\/\/galerialeme.com\/wp-content\/uploads\/2019\/08\/luiz-braga_interiores-retratos-e-paisagens-2019_exhibition-view_photo-filipe-berndt_view-2_72.jpg",1200,800,false],"thumbnail":["https:\/\/galerialeme.com\/wp-content\/uploads\/2019\/08\/luiz-braga_interiores-retratos-e-paisagens-2019_exhibition-view_photo-filipe-berndt_view-2_72-150x150.jpg",150,150,true],"medium":["https:\/\/galerialeme.com\/wp-content\/uploads\/2019\/08\/luiz-braga_interiores-retratos-e-paisagens-2019_exhibition-view_photo-filipe-berndt_view-2_72-300x200.jpg",300,200,true],"medium_large":["https:\/\/galerialeme.com\/wp-content\/uploads\/2019\/08\/luiz-braga_interiores-retratos-e-paisagens-2019_exhibition-view_photo-filipe-berndt_view-2_72-768x512.jpg",640,427,true],"large":["https:\/\/galerialeme.com\/wp-content\/uploads\/2019\/08\/luiz-braga_interiores-retratos-e-paisagens-2019_exhibition-view_photo-filipe-berndt_view-2_72-1024x683.jpg",640,427,true],"1536x1536":["https:\/\/galerialeme.com\/wp-content\/uploads\/2019\/08\/luiz-braga_interiores-retratos-e-paisagens-2019_exhibition-view_photo-filipe-berndt_view-2_72.jpg",1200,800,false],"2048x2048":["https:\/\/galerialeme.com\/wp-content\/uploads\/2019\/08\/luiz-braga_interiores-retratos-e-paisagens-2019_exhibition-view_photo-filipe-berndt_view-2_72.jpg",1200,800,false]},"uagb_author_info":{"display_name":"Cheyenne","author_link":"https:\/\/galerialeme.com\/en\/author\/"},"uagb_comment_info":0,"uagb_excerpt":null,"_links":{"self":[{"href":"https:\/\/galerialeme.com\/en\/wp-json\/wp\/v2\/expo\/41946","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/galerialeme.com\/en\/wp-json\/wp\/v2\/expo"}],"about":[{"href":"https:\/\/galerialeme.com\/en\/wp-json\/wp\/v2\/types\/expo"}],"version-history":[{"count":0,"href":"https:\/\/galerialeme.com\/en\/wp-json\/wp\/v2\/expo\/41946\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/galerialeme.com\/en\/wp-json\/wp\/v2\/media\/51308"}],"wp:attachment":[{"href":"https:\/\/galerialeme.com\/en\/wp-json\/wp\/v2\/media?parent=41946"}],"wp:term":[{"taxonomy":"expo_year","embeddable":true,"href":"https:\/\/galerialeme.com\/en\/wp-json\/wp\/v2\/expo_year?post=41946"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}