{"id":42663,"date":"2016-10-17T11:39:13","date_gmt":"2016-10-17T13:39:13","guid":{"rendered":"https:\/\/galerialeme.com\/?post_type=expo&p=42663"},"modified":"2023-12-05T16:52:51","modified_gmt":"2023-12-05T16:52:51","slug":"proprio-improprio","status":"publish","type":"expo","link":"https:\/\/galerialeme.com\/en\/expo\/proprio-improprio\/","title":{"rendered":"Pr\u00f3prio- Impr\u00f3prio"},"content":{"rendered":"","protected":false},"featured_media":51346,"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":[78],"class_list":["post-42663","expo","type-expo","status-publish","has-post-thumbnail","hentry","expo_year-2016-en"],"acf":[],"spectra_custom_meta":{"_wpml_word_count":["{\"total\":0,\"to_translate\":{\"en\":2,\"pt-br\":2}}"],"_edit_lock":["1701795058:4"],"_edit_last":["4"],"_wpml_media_featured":["1"],"_wpml_media_duplicate":["1"],"_last_translation_edit_mode":["translation-editor"],"leme_artist":["Frederico Filippi and Raphael Escobar"],"_leme_artist":["field_6436bf3605737"],"expo_description":["PR\u00d3PRIO-IMPR\u00d3PRIO | FREDERICO FILIPPI AND RAPHAEL ESCOBAR\r\n\r\nLeonardo Araujo, curator\r\n\r\nOpening: October 25th, 7pm\r\n\r\nWhat is with this possibility that is always engaged in one way or another in its impossibility?\r\n\r\nThis is from this question that Maurice Blanchot departs in his explanation to conceive what is utopia \u2013 existing in the relationship between communism and community. For this, the writer resorts to the creation of a concept-word: proper-improper. His resource then becomes narrative and imaginative in language.\r\n\r\nIn this exhibition Galeria Leme presents its new represented artists Frederico Filippi and Raphael Escobar, held together with the critic Leonardo Araujo. borrows the term and its use by the author to make its title both the context of emerging as to which immerses.\r\n\r\nHaving this movement aligned with the artistic process and the movement of \u201cthings\u201d (images, texts and actions) which it appears is proper-improper that keeps attentive to the politics of image. Going beyond communism or community that thoroughly penetrates the writer, the exhibition stands with the posture of how the image communicates what is urgent, its imagination power.\r\n\r\nThe works of artists resort to an affirmative and negative set of the double words of the title chosen to create unique perspectives on their own practices. By simply choosing the image produced by contemporary art in the current capitalist context is not tied anymore as the fundamental strength of a civilization, but as a reiteration of life \u2013 and this as an act of imagining \u2013 the exhibition intends creative and critical deepening that the artists present in their production environments.\r\n\r\nEscobar, thinks and responds to social update with an invisible policy only emerged in meetings between those involved in relationships in which he gets or demand.\r\n\r\nFilippi, revisits and proposes, through nature and the Western neglect to it, a silent, meditative abstract and rereading image as an intervention in the collective unconscious.\r\n\r\nLeonardo Araujo\r\nIcapu\u00ed (CE), September 2016\r\n\r\nAbout the Curator:\r\n\r\nLeonardo Araujo lives and works in S\u00e3o Paulo. He is a writer, art critic and independent publisher. Partially studied Philosophy at Unifesp and graduated in Visual Arts from the University Center Fine Arts of S\u00e3o Paulo. Curated the exhibition Noves_Fora at the independent space Beco da Arte, where he worked for 3 years. He was an assistant at the Center for Research and Criticism in Art History at the Pinacoteca do Estado de S\u00e3o Paulo. Developed the exhibition projects Estruturas Poss\u00edveis: um di\u00e1logo cr\u00edtico-criativo com o artista Bruno Baptistelli at Oficina Cultural Oswald de Andrade. Currently he participates in the Group of Practical Studies in Experimental Language and develops the Gramatologia project in the same institution. Also, is underway with the project Gravity [species spaces], together with the artist Daniel de Paula Mendes in Col\u00f4nia da Cratera, Parelheiros. Through Glac Editions, recently released the book Claire Fontaine: em vista de uma pr\u00e1tica pol\u00edtica.\r\n\r\nAbout the Artists:\r\n\r\nFrederico Filippi.\r\nS\u00e3o Carlos, Brazil, 1983. Lives and works in S\u00e3o Paulo, Brazil.\r\n\r\nFrederico Filippi\u2019s work of faces oppositions of order and disorder, invisible relationships existing in the vertigo of civilizing processes, particularly in the context of South America. With various procedures and scattered techniques, the centrality of these images in his investigations often arise from the influence received from anthropological topics \u2013 specifically the Amerindian ethnology \u2013 as a field of research, imagistic waste from the meeting of different worlds and the diagramming of apparently chaotic information in a new context. For this, while focusing on objects and materials to produce paintings, drawings and installations he also carries out more extensive research on displacement processes and residencies that end up producing an action on reality, even if very small, so to introduce a noise in the overall image. Increasingly the invisible agency of objects and information have become a meeting point in his process, so that the artist does not befalls vertically on a technique but moves according to his survey and finds in different materials and actions ways to make visible these procedures.\r\nAmong his main exhibitions are: The sun, the albino alligator and other mutations, Galeria Athena Contempor\u00e2nea, Rio de Janeiro; Totemonumento, Galeria Leme, S\u00e3o Paulo (2016); Fire in Babylon, Piv\u00f4, S\u00e3o Paulo; So far, so good, White Cube Gallery, S\u00e3o Paulo (2015); Si no todas las armas, los ca\u00f1ons, Matadero Madrid, Madrid, Spain; Exhibition from the 5th edition of the Bolsa Pampulha, Museum of Pampulha, Belo Horizonte; A parte que n\u00e3o te pertence, Maisterra Valbuena, Madrid, Spain (2014).\r\nAwards and residencies: Kiosko, Santa Cruz de la Sierra, Bolivia; El Ranchito Matadero Madrid, Madrid, Spain (2015); Bolsa Pampulha Museum of Pampulha, Belo Horizonte; Nov\u00edssimos Award, IBEU Gallery, Rio de Janeiro; La Ene, Buenos Aires, Argentina (2013); 5th Red Bull House of Art, S\u00e3o Paulo (2011).\r\n\r\nRaphael Escobar.\r\nS\u00e3o Paulo, Brazil, 1987. Lives and works in S\u00e3o Paulo, Brazil.\r\n\r\nRaphael Escobar\u2019s work is based on the dichotomy of the notions of public and private, place and non-place, center and margin. Using objects, actions and situations that are characteristic of the language of urban daily life, he discusses power relations and imposition, but also the subversion of these logics, towards the illegal or what might be considered \u201cvandalism\u201d. Since 2009 he works with non-formal education in contexts of social vulnerability. This activity also serves as a research and activation of his work, often showing the forms of resistance amid the precariousness, deletion, exclusion and lessening of rights and freedoms.\r\nAmong his main exhibitions are the group shows: Totemonumento, Galeria Leme, S\u00e3o Paulo (2016); Vaguear, transitar, caminhar, errar\u2026, Open Studio, Campinas, S\u00e3o Paulo (2015); 31th S\u00e3o Paulo Biennial (in collaboration with collective Ruangrupa), S\u00e3o Paulo (2014); X S\u00e3o Paulo Architecture Biennial, Centro Cultural S\u00e3o Paulo, S\u00e3o Paulo; A Alma \u00e9 o Segredo do Neg\u00f3cio, Funarte, S\u00e3o Paulo, Brazil (2013), among others.\r\nArtistic residencies: Red Bull Station, S\u00e3o Paulo, Brazil (2016); Condom\u00ednio Cultural, S\u00e3o Paulo, Brazil; Walls: Territ\u00f3rios Compartilhados, Salvador, Brazil (2013), among 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