{"id":68434,"date":"2025-08-27T10:56:02","date_gmt":"2025-08-27T13:56:02","guid":{"rendered":"https:\/\/galerialeme.com\/?post_type=viewing_room&p=68434"},"modified":"2026-03-19T12:38:38","modified_gmt":"2026-03-19T15:38:38","slug":"felipe-rezende-arena-2025","status":"publish","type":"viewing_room","link":"https:\/\/galerialeme.com\/en\/viewing_room\/felipe-rezende-arena-2025\/","title":{"rendered":"Felipe Rezende |"},"featured_media":68402,"template":"","class_list":["post-68434","viewing_room","type-viewing_room","status-publish","has-post-thumbnail","hentry"],"acf":[],"spectra_custom_meta":{"_wpml_word_count":["{\"total\":0,\"to_translate\":{\"en\":2,\"pt-br\":2}}"],"_edit_lock":["1773934724:7"],"_edit_last":["7"],"_wpml_media_featured":["1"],"_wpml_media_duplicate":["1"],"_thumbnail_id":["68402"],"_last_translation_edit_mode":["native-editor"],"imagem_principal":["68437"],"_imagem_principal":["field_5fa2b54586da6"],"subtitulo":["Arena"],"_subtitulo":["field_5fa2b1465dfaa"],"agendamento":[""],"_agendamento":["field_5fa29215c570d"],"data_inicio":["20250830"],"_data_inicio":["field_5fa2b09a5dfa8"],"data_termino":["20251016"],"_data_termino":["field_5fa2b1005dfa9"],"hero_gallery":[""],"_hero_gallery":["field_66be11ec1c1d3"],"content_0_texto":["These fragments, I have shored against my ruins.<\/strong>\r\nT.S. Eliot\r\n

As the Argentine writer Juan Jos\u00e9 Saer reminds us, \u201cfiction is a specific way of dealing with the world, inseparable from the material it addresses.\u201d It is in this specific treatment that fiction reveals itself as a critical, imaginative, and sensitive operation. What Milan Kundera says about novels points in the same direction but encompassing fiction as a whole: it \u201cdoes not examine reality, but existence.\u201d By turning toward the unverifiable, fiction indefinitely expands the possibilities for interpretation and reflection; without denying the existence of objective reality. On the contrary, it dives into its complexity and inscribes itself within it as a form of knowledge, a tool for critical thinking, and a sensitive testimony of experience. It is in this sense that fiction operates in the work of Felipe Rezende.<\/p>\r\n

The paintings that compose the exhibition, settle human, semi-human, inhuman, and non-human figures alongside the landscape, somewhere between the empirical and the imagined, the true and the invented, the simulated. They emerge like apparitions, reminiscences of records and fragments of scenes, encounters, data, and real people that the artist gathers in the construction of his visual and thematic repertoire.<\/p>\r\n

The way Rezende organizes bodies, gestures, tools, actions, and horizons reinforces a certain fantastic and ghostly atmosphere. A similar effect occurs with simulators and other augmented reality devices, and borrowed internet images, which he also ironizes and empties. While maintaining poses and postures, Rezende returns a critical strangeness to \u201creal\u201d images, often camouflaged, or normalized in the contexts in which they were captured. In the case of the graphs, the artist reveals the ideological and fictional nature of supposedly objective data visualizations. These signs lose their instrumental function and, explored through form, presence, and color, begin to act as a kind of noise.<\/p>\r\n

With displacement as a central part of his research and practice, Rezende accumulates geographies and times that are very different from each other, yet all marked by tensions: from labor, social, and class relations to the predatory exploitation of the environment. On his most recent trip to Bahia, his home state, he visited a soy and corn farm in the west of the region. Taken by Geovanna, a personal friend who works in agrobusiness supply distribution, the artist was struck by the cutting-edge machinery in contrast with the remnants of abandoned equipment and structures: human and non-human ruins scattered across the terrain like traces of exhausted life cycles, pointing to what remains on the margins of technological efficiency.<\/p>\r\n

From his travels, the artist gathers discarded materials, such as used truck tarpaulin, which becomes an inseparable part of his poetics and practice. In recent years, Rezende has intensified his formal and conceptual experimentation with this material. In Demeter (2025), featured in the 14th Mercosul Biennial, the painted tarp was laid over the truck that would transport the piece and artist from Barreiras (BA) to Porto Alegre (RS), where it became part of a site-specific installation exhibited at Vera Chaves Barcellos Foundation.<\/p>"],"_content_0_texto":["field_6448479f05101"],"content_1_obra":["a:1:{i:0;s:5:\"68454\";}"],"_content_1_obra":["field_6448473c050fe"],"_content_layout_meta":["a:2:{s:8:\"disabled\";a:0:{}s:7:\"renamed\";a:0:{}}"],"content":["a:7:{i:0;s:10:\"text_block\";i:1;s:12:\"obra_block_1\";i:2;s:11:\"image_block\";i:3;s:10:\"text_block\";i:4;s:12:\"obra_block_3\";i:5;s:12:\"obra_block_1\";i:6;s:11:\"image_block\";}"],"_content":["field_64484686050f9"],"_seopress_redirections_type":["301"],"_seopress_redirections_logged_status":["both"],"_seopress_analysis_target_kw":[""],"content_2_imagem":["68382"],"_content_2_imagem":["field_644847c605104"],"content_3_texto":["

In Arena<\/em>, suspended from a circular structure approximately three meters in diameter, the tarp pulses. Everything in it happens simultaneously, reverberating in the \u201clack of edge, of gatehouse, in the inevitable communication between spaces,\u201d as described by the narrator of Pedro Mairal\u2019s short novel about the character Juan Salvatierra; a fictional artist for whom the idea of a \u201cframe\u201d held little interest. In Rezende\u2019s work, the truck tarp is not merely a pictorial surface, but a spatial body, flexible and laden with memory, presence, and invention, reaffirming the painting\u2019s vocation as an expanded field and critical device.<\/p>\r\n

Everything pulses and unfolds simultaneously in this landscape, populated by improbable encounters, juxtapositions, space-time accumulations, and critical imagination, where painting does not reconcile but rather intensifies the world's dissonance. In their insistence on emerging like apparitions, fragments and reminiscences of records and images are transfigured, building territories both unique and familiar to the artist. It is in his prodigious journeys through these territories, on the border between the empirical and the imagined, that we are confronted with scenarios and characters as questionable as they are real. Reality guides invention as much as invention guides reality.<\/p>"],"_content_3_texto":["field_6448479f05101"],"content_4_obra":["a:3:{i:0;s:5:\"68448\";i:1;s:5:\"68445\";i:2;s:5:\"68451\";}"],"_content_4_obra":["field_64486180449f5"],"content_5_obra":["a:1:{i:0;s:5:\"68442\";}"],"_content_5_obra":["field_6448473c050fe"],"content_6_imagem":["68422"],"_content_6_imagem":["field_644847c605104"],"_wp_old_slug":["felipe-rezende","felipe-rezende-2025"],"_uag_css_file_name":["uag-css-68434.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:\"1776363335\";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\/2025\/08\/arena_2-1-e1756321550110.webp",2346,1564,false],"thumbnail":["https:\/\/galerialeme.com\/wp-content\/uploads\/2025\/08\/arena_2-1-150x150.webp",150,150,true],"medium":["https:\/\/galerialeme.com\/wp-content\/uploads\/2025\/08\/arena_2-1-300x200.webp",300,200,true],"medium_large":["https:\/\/galerialeme.com\/wp-content\/uploads\/2025\/08\/arena_2-1-768x512.webp",640,427,true],"large":["https:\/\/galerialeme.com\/wp-content\/uploads\/2025\/08\/arena_2-1-1024x683.webp",640,427,true],"1536x1536":["https:\/\/galerialeme.com\/wp-content\/uploads\/2025\/08\/arena_2-1-1536x1024.webp",1536,1024,true],"2048x2048":["https:\/\/galerialeme.com\/wp-content\/uploads\/2025\/08\/arena_2-1-2048x1365.webp",2048,1365,true]},"uagb_author_info":{"display_name":"Cris","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\/viewing_room\/68434","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/galerialeme.com\/en\/wp-json\/wp\/v2\/viewing_room"}],"about":[{"href":"https:\/\/galerialeme.com\/en\/wp-json\/wp\/v2\/types\/viewing_room"}],"version-history":[{"count":1,"href":"https:\/\/galerialeme.com\/en\/wp-json\/wp\/v2\/viewing_room\/68434\/revisions"}],"predecessor-version":[{"id":69179,"href":"https:\/\/galerialeme.com\/en\/wp-json\/wp\/v2\/viewing_room\/68434\/revisions\/69179"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/galerialeme.com\/en\/wp-json\/wp\/v2\/media\/68402"}],"wp:attachment":[{"href":"https:\/\/galerialeme.com\/en\/wp-json\/wp\/v2\/media?parent=68434"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}