{"id":42012,"date":"2019-05-10T16:10:42","date_gmt":"2019-05-10T16:10:42","guid":{"rendered":"https:\/\/galerialeme.com\/?post_type=expo&#038;p=42012"},"modified":"2023-12-05T16:36:08","modified_gmt":"2023-12-05T16:36:08","slug":"luciano-figueiredo-in-dialogue-with-raymundo-colares","status":"publish","type":"expo","link":"https:\/\/galerialeme.com\/en\/expo\/luciano-figueiredo-in-dialogue-with-raymundo-colares\/","title":{"rendered":"Luciano Figueiredo in dialogue with Raymundo Colares"},"content":{"rendered":"","protected":false},"featured_media":51312,"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-42012","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":["1701794048:4"],"_edit_last":["4"],"_wpml_media_featured":["1"],"_wpml_media_duplicate":["1"],"_last_translation_edit_mode":["native-editor"],"leme_artist":[""],"_leme_artist":["field_6436bf3605737"],"expo_description":["Galeria Leme\/AD is pleased to announce the exhibition\u00a0<strong>Luciano Figueiredo in dialogue with Raymundo Colares<\/strong>\u00a0in its space. The exhibition brings together a representative set of historical works by the artists, both considered exponents of the movements of Counterculture and Experimentalism in Brazil during the 1970s. Luciano Figueiredo presents works that highlight the stages and processes of formal and chromatic investigation that marked 50 years of his artistic trajectory. More than bringing a pertinent aesthetic dialogue, the works of Colares demonstrate an investigative synchronicity, uniting constructive elements of advertising and visual programming of that time.\r\n\r\nIn Figueiredo\u2019s production, the newsprint works as a catalyst, found in almost every piece. Removed from newspapers, this material has been studied extensively by the artist for decades, since mid-1970s, period when he was still living in London (UK). The works from the \u201cKinomania\u201d series (1980-90), for instance, attribute to the geometric compositions of newsprint different visual elements and many subtle references inspired by\u00a0<em>Cinema Noir<\/em>\u00a0films, such as \u201cCitizen Kane\u201d (Orson Welles) and \u201cDouble Indemnity\u201d (Billy Wilder), among several others. For the most part, the pieces refer to Constructivism and graphic traditions, through the experiments with the properties of fabrics and papers. Likewise, Colares\u2019 \u201cobject books\u201d, one of his most emblematic series, the so-called \u201cGibis\u201d [comics books] (1970s), also explore the formal characteristics of the employed medium. Through the folds, colours and cuts on the paper, the artist created visual narratives that playfully surprised the viewer, who was invited to interact with it.\r\n\r\nFor over 30 years, since mid-1960s, Luciano Figueiredo has travelled through the most diverse areas of national and international art scenes. This experience as a multiple professional, in a period of extreme cultural effervescence and artistic experimentation, led to the construction of a path that was mainly based on research on the everyday materials and their possibilities within the composition of works, following the best of Brazilian experimental art from de 1960s and 70s that, differently from the dematerialized aspects of Conceptual Art in North America, has never separated thought from sensoriality. The manipulation of materials, through cut-outs, collages, etc., has initiated a series of\u00a0\u2018paintings-objects\u2019, that is, \u2018colour structures\u2019, from the combination of different elements such as newsprint and fabrics. Later, this research culminated in the so-called \u201cRelief\u201d series, one of the artist\u2019s most iconic production, where he applies several layers of painted canvas in geometric compositions, described by Figueiredo as \u201cpossibilities of colour and space in suspension\u201d. Some of the first works of this series can also be seen in the exhibition.\r\n\r\nAs for Raymundo Colares, he invested in the representation of the rhythms dictated by contemporaneity. In his paintings, through geometry, he portrayed the dynamism and diversity of a time of great transformation \u2013 the 60s, 70s and 80s. His paintings conveyed mainly strong colours, fragmenting the images as in interrupted processes, departing from a repertory of urban images, such as buildings and buses. His drawings and paintings also brought clear references of Concrete and Pop Art, as well as elements of mass culture, features that made him an important figure of the New Figuration movement in Brazil.\r\n\r\n&nbsp;\r\n\r\n<strong>About the artists:<\/strong>\r\n\r\n&nbsp;\r\n\r\n<strong>Luciano Figueiredo<\/strong>.\u00a0Fortaleza, Brazil, 1948. Lives and works in Rio de Janeiro, Brazil, Nice, Blois and Paris, France\r\n\r\nAmong his solo exhibitions there are: Pli et Contre-Pli, Galerie Depardieu, Nice, France (2018). Urgente: \u00c9 Pintura!, Instituto Tomie Ohtake, Sao Paulo, Brazil (2017); Figures et Formes G\u00e9om\u00e9triques, Marcel Fleiss Galerie, Paris, France (2017); Cor, Plano: Suspens\u00e3o, Galeria Leme, Sao Paulo, Brasil (2015); Cor, Plano: Suspens\u00e3o, Galeria Lurix, Rio de Janeiro, Brazil (2014); fabri-fabulosi IMAGEM\/LEGENDA: um cine-romance, Oi Futuro Ipanema, Rio de Janeiro, Brazil (2013), Structures, Couleurs, Galerie des Docks, Nice, France (2011), Peintures et Reliefs, Galerie d\u2019Est et d\u2019Ouest, Paris, France (2007), etc.\r\n\r\nGroup shows: Modos de ver o Brasil, Ita\u00fa Cultural 30 anos, OCA, Sao Paulo, Brazil (2017); Jogos de Guerra, Caixa Cultural, Rio de Janeiro, Brazil (2011); Anos 70, Arte como Quest\u00e3o, Instituto Tomie Ohtake, Sao Paulo, Brazil (2007); Filmes de Artista, Brasil 1965-80, Foire d\u2019art contemporain de Strasbourg, France (2007); Tudo \u00c9 Brasil, Pa\u00e7o Imperial, Rio de Janeiro, Brazil (2004); Contemporary Brazilian Works on Paper, Nobe Gallery, Nova York, EUA (1978); Sal\u00e3o de Ver\u00e3o, MAM, Rio de Janeiro, Brazil (1970); 2<sup>a<\/sup>\u00a0Bienal Nacional de Artes Pl\u00e1sticas, Salvador, Brazil (1968); IX Bienal Internacional de S\u00e3o Paulo, Sao Paulo, Brasil (1967); 1<sup>a<\/sup>\u00a0Bienal Nacional de Artes Pl\u00e1sticas, Salvador, Brasil (1968), among others.\r\n\r\nCollections: Cole\u00e7\u00e3o Ita\u00fa, Brazil; Cole\u00e7\u00e3o CCBB-RJ, Brazil; Cole\u00e7\u00e3o Oi Futuro Flamengo, Rio de Janeiro, Brazil; Mus\u00e9e D\u00e9partamentale de Gap, France; Museum of Fine Arts, Houston, USA; Patricia Phelps de Cisneros Collection, USA; The Collection Annette and Peter Nobel, Switzerland; Kadist Foundation, San Francisco, USA.\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n<strong>Raymundo Colares<\/strong>.\u00a0Gr\u00e3o Mogol, MG, Brazil, 1944 \u2013 Montes Claros, MG, Brazil, 1986\r\n\r\nAmong his solo exhibitions there are: Raymundo Colares, Galeria Ibeu Copacabana, Rio de Janeiro, Brazil (1970); Raymundo Colares, Brazilian-American Cultural Institute, Washington, DC, USA (1979); Raymundo Colares, Galeria Paulo Klabin, Rio de Janeiro, Brazil (1985); Raymundo Colares, Centro Universitario Maria Antonia, S\u00e3o Paulo, Brazil (2004); Raymundo Colares, MAM-SP, Brazil (2010).\r\n\r\nAmong the group exhibitions: Nova Objetividade Brasileira, MAM-RJ, Brazil (1967); 19<sup>o<\/sup>\u00a0Salao Nacional de Arte Moderna, MAM-RJ, Brazil (1970 \u2013 International Trip Award); 4<sup>o<\/sup>\u00a0Panorama de Arte da Atual Brasileira, MAM-SP, Brazil (1972); Arte Agora I, MAM-RJ, Brazil (1976); From Modern to the Contemporary, Barbican Center, London, UK (1984); Modernidade: arte brasileira do S\u00e9c XX, Mus\u00e9e d\u2019Art Modern de la Ville de Paris, Paris, France (1988); Livro-objeto: A Fronteira dos Vazios, CCBB-RJ (1994); Bienal Brasil S\u00e9c XX, Funda\u00e7\u00e3o Bienal, SP (1995); Brasil + 500 Mostra do Redescobrimento, Funda\u00e7\u00e3o Bienal, SP (2000); Neovanguardas, Museu de Arte da Pampulha, MG (2008); 30 X Bienal: Transforma\u00e7\u00f5es na Arte Brasileira, da 1<sup>a<\/sup>\u00a0a 30<sup>a<\/sup>\u00a0edi\u00e7\u00e3o, Funda\u00e7\u00e3o Bienal de S\u00e3o Paulo (2013).\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n<a href=\"http:\/\/galerialemead.com\/wordpress\/wp-content\/uploads\/2019\/05\/Luciano-Figueiredo-em-di%C3%A1logo-com-Raymundo-Colares_ENG_low1.pdf\" target=\"_blank\" rel=\"noopener\">Click here<\/a>\u00a0for the exhibition preview."],"_expo_description":["field_64442aea60f9a"],"gallery":["a:26:{i:0;s:5:\"42013\";i:1;s:5:\"42015\";i:2;s:5:\"42017\";i:3;s:5:\"42019\";i:4;s:5:\"42021\";i:5;s:5:\"42023\";i:6;s:5:\"42025\";i:7;s:5:\"42027\";i:8;s:5:\"42029\";i:9;s:5:\"42031\";i:10;s:5:\"42033\";i:11;s:5:\"42035\";i:12;s:5:\"42037\";i:13;s:5:\"42039\";i:14;s:5:\"42041\";i:15;s:5:\"42043\";i:16;s:5:\"42045\";i:17;s:5:\"42047\";i:18;s:5:\"42049\";i:19;s:5:\"42051\";i:20;s:5:\"42053\";i:21;s:5:\"42055\";i:22;s:5:\"42057\";i:23;s:5:\"42059\";i:24;s:5:\"42061\";i:25;s:5:\"42063\";}"],"_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":["20190518"],"_leme_begin":["field_64442ce3d3a50"],"leme_end":["20190622"],"_leme_end":["field_64442d00d3a51"],"_thumbnail_id":["51312"],"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"],"_uag_css_file_name":["uag-css-42012.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\/05\/luciano-figueiredo_luciano-figueiredo-em-dialogo-com-raymundo-colares-2019_exhibition-view_photo-filipe-berndt_view-1_72.jpg",1200,800,false],"thumbnail":["https:\/\/galerialeme.com\/wp-content\/uploads\/2019\/05\/luciano-figueiredo_luciano-figueiredo-em-dialogo-com-raymundo-colares-2019_exhibition-view_photo-filipe-berndt_view-1_72-150x150.jpg",150,150,true],"medium":["https:\/\/galerialeme.com\/wp-content\/uploads\/2019\/05\/luciano-figueiredo_luciano-figueiredo-em-dialogo-com-raymundo-colares-2019_exhibition-view_photo-filipe-berndt_view-1_72-300x200.jpg",300,200,true],"medium_large":["https:\/\/galerialeme.com\/wp-content\/uploads\/2019\/05\/luciano-figueiredo_luciano-figueiredo-em-dialogo-com-raymundo-colares-2019_exhibition-view_photo-filipe-berndt_view-1_72-768x512.jpg",640,427,true],"large":["https:\/\/galerialeme.com\/wp-content\/uploads\/2019\/05\/luciano-figueiredo_luciano-figueiredo-em-dialogo-com-raymundo-colares-2019_exhibition-view_photo-filipe-berndt_view-1_72-1024x683.jpg",640,427,true],"1536x1536":["https:\/\/galerialeme.com\/wp-content\/uploads\/2019\/05\/luciano-figueiredo_luciano-figueiredo-em-dialogo-com-raymundo-colares-2019_exhibition-view_photo-filipe-berndt_view-1_72.jpg",1200,800,false],"2048x2048":["https:\/\/galerialeme.com\/wp-content\/uploads\/2019\/05\/luciano-figueiredo_luciano-figueiredo-em-dialogo-com-raymundo-colares-2019_exhibition-view_photo-filipe-berndt_view-1_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\/42012","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\/42012\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/galerialeme.com\/en\/wp-json\/wp\/v2\/media\/51312"}],"wp:attachment":[{"href":"https:\/\/galerialeme.com\/en\/wp-json\/wp\/v2\/media?parent=42012"}],"wp:term":[{"taxonomy":"expo_year","embeddable":true,"href":"https:\/\/galerialeme.com\/en\/wp-json\/wp\/v2\/expo_year?post=42012"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}