{"id":42066,"date":"2019-03-27T15:46:42","date_gmt":"2019-03-27T18:46:42","guid":{"rendered":"https:\/\/galerialeme.com\/?post_type=expo&p=42066"},"modified":"2023-12-05T16:37:58","modified_gmt":"2023-12-05T16:37:58","slug":"necrobrasiliana","status":"publish","type":"expo","link":"https:\/\/galerialeme.com\/en\/expo\/necrobrasiliana\/","title":{"rendered":"Necrobrasiliana"},"content":{"rendered":"","protected":false},"featured_media":51314,"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-42066","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":["1701794168:4"],"_edit_last":["4"],"leme_artist":["Thiago Martins de Melo"],"_leme_artist":["field_6436bf3605737"],"expo_description":["
\r\n
\r\n\r\nTo start its 2019 program, Galeria Leme A\/D is pleased to announce \u201cNecrobrasiliana\u201d, the first solo exhibition of Thiago Martins de Melo in its space. As the gallery\u2019s most recent member, the artist presents a new series of works, whose theme approaches concepts related to death, in order to deal with Brazil\u2019s historical legacies through the idea of Necropolitics[1]<\/a>.\r\n\r\nAs from the anachronistic crossing of narratives about resistances and decadences, symbologies and characters, spirituality and syncretism, Thiago Martins de Melo uses the traditional methods of painting to address issues related to the State of Exception in Brazil. In the work \u201cNecrobrasiliana\u201d (2019), the artist combines large canvases to depict situations that haunt himself. On a metallic background and sided by two pillars with mutilated indigenous heads on the top, besides the imposing figure of Carlos Marighella[2]<\/a>, there are layers of images about moments linked to extermination and other troubles faced by minorities.\r\n\r\nIn \u201cCaminho da Anta\u201d [Path of Tapir] (2019), for instance, the artist revisits the homonymous constellation (as the Milky Way is called by the indigenous tradition, including the Tupinambas of the Maranhao State, where the artist is from) in a large installation composed of several small works. Each one of them brings an archetypal image, which is normally rooted in the collective consciousness of the Brazilian people, such as some iconic photographs or emblematic figures.\r\n\r\nThe works of Thiago Martins de Melo, be they sculptures, installations, videos or paintings, make impact, not only for their usual large dimensions and subjects, but essentially for their exuberance on techniques and material. In his paintings, layers and layers of processes are superimposed and combined with other types of materials attached, which extrapolate the two-dimensionality of the canvas. Large quantities of strong colour paints drive the allegorical narratives to deal with matters that are intrinsic to the conditions imposed by the colonialism in Brazil.\r\n\r\n \r\n\r\nAbout the artist:<\/strong>\r\n\r\nThiago Martins de Melo.\u00a0Sao Lu\u00eds, Brazil, 1981. Lives and works in Sao Lu\u00eds, Brazil.\r\n\r\nAmong his solo exhibitions are: b\u00e1rbara balaclava, Programa Emerg\u00eancia, Saco Azul\/Maus H\u00e1bitos, Porto, Portugal (2018); B\u00e1rbaro Barroco, Gamma Galeria, Guadalajara, Mexico (2016); Teatro Nag\u00f4-cartesiano e o Corte Azimutal do Mundo, Mendes Wood DM, Sao Paulo, Brazil (2013); III Mostra do Programa de Exposi\u00e7\u00e3o Centro Cultural S\u00e3o Paulo, Sao Paulo, Brazil (2010); Sad Goat, Projeto Trajet\u00f3rias 2009, Funda\u00e7\u00e3o Joaquim Nabuco, Recife, Brazil (2009), among others.\r\n\r\nGroup exhibitions: Verzuimd Brazil \u2013 Brasil Desamparado, Pr\u00eamio CNI SESI SENAI Mancantonio Vila\u00e7a para as Artes Pl\u00e1sticas, Brazil (2018);\u00a0Panoramas do Sul, 20\u00ba Festival de Arte Contempor\u00e2nea Sesc_Videobrasil, S\u00e3o Paulo, Brazil (2017);\u00a0Contemporary Brazilian Arts from the Rubell Family Collection, Miami, USA (2016); Dakar Biennale, Dakar, Senegal (2016); 10a<\/sup>\u00a0Mercosul Biennale, Santander Cultural, Porto Alegre, Brazil (2015); 1a<\/sup>\u00a0Asunci\u00f3n International Biennale \u2013 Grito de Libertad, Asunci\u00f3n, Paraguay (2015); 31a<\/sup>\u00a0Sao Paulo Biennale \u2013 Como (\u2026) coisas que n\u00e3o existem, Sao Paulo, Brazil (2014); Hist\u00f3rias Mesti\u00e7as, Instituto Tomie Ohtake, Sao Paulo, Brazil (2014); 12a<\/sup>\u00a0Lyon Biennale, France (2013); To be with art is all we ask, Astrup Fearnley Museet, Oslo, Norway (2012); Caos e efeito, Ita\u00fa Cultural, Sao Paulo, Brazil (2011); among others.\r\n\r\nHis works belong to the following collections: Rubell Family Collection \u2013 Contemporary Arts Foundation, Miami, USA; MASP \u2013 Museu de Arte de S\u00e3o Paulo, Sao Paulo, Brazil; Thyssen-Bornemisza Art Contemporary, Vienna, Austria; Museu de Arte Contempor\u00e2nea do Cear\u00e1, Fortaleza, Brazil; Astrup Fearnley Museum of Modern Art, Oslo, Norway; Gilberto Chateaubriand Collection; PAMM \u2013 P\u00e9rez Art Museum Miami, Miami, USA.\r\n\r\n \r\n\r\n[1]<\/a>\u00a0The concept of Necropolitics was created by the sociologist from Cameroon Achille Mbembe to discuss how the power and sovereignty impose rules about who can live and who should die.\r\n\r\n[2]<\/a>\u00a0Carlos Marighella was a Brazilian politician and activist, also writer, killed by the Military dictatorship in 1969.\r\n\r\n \r\n\r\n \r\n\r\nClick here<\/a>\u00a0for the exhibition 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