Marepe
25 Oct - 21 Dec 2013
© Marepe
Peixe Com Auréola, 2012
Bicycle and ply wood
42 1/4 x 102 x 24 7/8 inches
Courtesy Anton Kern Gallery, New York
Peixe Com Auréola, 2012
Bicycle and ply wood
42 1/4 x 102 x 24 7/8 inches
Courtesy Anton Kern Gallery, New York
MAREPE
25 October – 21 December 2013
October 1, 2013, New York—For his third solo show at Anton Kern Gallery, Brazilian artist Marepe presents a group of seven sculptures made of common objects and put together with great formal rigor and poetic potential. These works achieve a complex layering of references and meanings addressing the linkage between the individual and society.
Marepe's sculptures are made from everyday materials such as plastic buckets and tables, ironing boards, brooms, bicycles, wheelbarrows, and chipboard. Some titles, such as Embutido Sanfona (embedded accordion), are inspired by popular music, others are factual and descriptive, such as Empilhamento (stacking). The work allows for a direct reading, and perhaps more importantly, leads toward a sensory experience; an intimacy of touch and interaction, comparable to the deeply emotional experience and immediacy of listening to music.
Duchamp and Neoconcretismo may be part of Marepe's inspiration, but it is the artist's deep concern for the social and for human interaction that drives his art. He combines quotidian objects and materials to form disarmingly simple monuments, some suggesting abstract forms, others depicting figures engaged in dance-like interaction, and in some cases allowing cut-out chipboard to assist in creating specific figures.
Many of Marepe's titles refer to Brazilian music or lyrics. Embutido Sanfona for example, can be translated as “built-in concertina,” the slightly smaller version of the accordion which is the lead instrument in Forró, a thrilling and infectious folk-pop music from the North-East of Brazil, the region where Marepe grew up and still lives and works. "Embutido Sanfona" also refers to Marepe's previous wooden models for rooms and trucks and his interest in communal and shared spaces. It is simultaneously a minimalist kinetic sculpture, a model for multi-purpose housing, and a musical celebration.
Marepe's work speaks, or rather sings of everyday life and love, celebrating and elevating the specific materials and origins of the work to the universal. The ordinary shines in its simple beauty declaring its liberating and transformative power.
Born Marcos Reis Peixoto 1970 in San Antonio de Jesus, Bahia, Brazil, Marepe lives and works in Salvador de Bahia, Brazil. The artist has participated in various group exhibitions including The Living Years, Walker Art Center, Minneapolis (2012); Gigantes por su propia naturaleza, IVAM Instituto Valenciano de Arte Moderna, Valencia, Spain (2011); NeoHooDoo: Art for a Forgotten Faith, The Menil Collection, Houston; PS1, Long Island City; Miami Art Museum, Miami (2008/09); An Unruly History of the Readymade, Jumex Collection, México; When Lives Become Form: Contemporary Brazilian Art: 1960-Present, Museum of Contemporary Art of Tokyo (both 2008); Alien Nation, ICA, London; 27th Bienal de São Paulo; 15th Biennale of Sydney, Sydney (all 2006); Tropicália: A Revolution in Brazilian Culture, Barbican Art Gallery, London; The Bronx Museum of the Arts, New York; Museu de Art Moderna, Rio de Janeiro, Museum of Contemporary Art, Chicago (2005/06); How Latitudes Becomes Forms: Art in a Global Age, Contemporary Arts Museum, Houston; Venice Biennale, Venice, Italy; the Istanbul Biennial (all 2004). Recent solo exhibitions include Veja meu Bem, Tate Modern, London; Espelho, Museu de Arte Moderna, São Paulo (both 2007), and Vermelho Amarelo Verde Azul, Centre Pompidou, Paris (2005);
25 October – 21 December 2013
October 1, 2013, New York—For his third solo show at Anton Kern Gallery, Brazilian artist Marepe presents a group of seven sculptures made of common objects and put together with great formal rigor and poetic potential. These works achieve a complex layering of references and meanings addressing the linkage between the individual and society.
Marepe's sculptures are made from everyday materials such as plastic buckets and tables, ironing boards, brooms, bicycles, wheelbarrows, and chipboard. Some titles, such as Embutido Sanfona (embedded accordion), are inspired by popular music, others are factual and descriptive, such as Empilhamento (stacking). The work allows for a direct reading, and perhaps more importantly, leads toward a sensory experience; an intimacy of touch and interaction, comparable to the deeply emotional experience and immediacy of listening to music.
Duchamp and Neoconcretismo may be part of Marepe's inspiration, but it is the artist's deep concern for the social and for human interaction that drives his art. He combines quotidian objects and materials to form disarmingly simple monuments, some suggesting abstract forms, others depicting figures engaged in dance-like interaction, and in some cases allowing cut-out chipboard to assist in creating specific figures.
Many of Marepe's titles refer to Brazilian music or lyrics. Embutido Sanfona for example, can be translated as “built-in concertina,” the slightly smaller version of the accordion which is the lead instrument in Forró, a thrilling and infectious folk-pop music from the North-East of Brazil, the region where Marepe grew up and still lives and works. "Embutido Sanfona" also refers to Marepe's previous wooden models for rooms and trucks and his interest in communal and shared spaces. It is simultaneously a minimalist kinetic sculpture, a model for multi-purpose housing, and a musical celebration.
Marepe's work speaks, or rather sings of everyday life and love, celebrating and elevating the specific materials and origins of the work to the universal. The ordinary shines in its simple beauty declaring its liberating and transformative power.
Born Marcos Reis Peixoto 1970 in San Antonio de Jesus, Bahia, Brazil, Marepe lives and works in Salvador de Bahia, Brazil. The artist has participated in various group exhibitions including The Living Years, Walker Art Center, Minneapolis (2012); Gigantes por su propia naturaleza, IVAM Instituto Valenciano de Arte Moderna, Valencia, Spain (2011); NeoHooDoo: Art for a Forgotten Faith, The Menil Collection, Houston; PS1, Long Island City; Miami Art Museum, Miami (2008/09); An Unruly History of the Readymade, Jumex Collection, México; When Lives Become Form: Contemporary Brazilian Art: 1960-Present, Museum of Contemporary Art of Tokyo (both 2008); Alien Nation, ICA, London; 27th Bienal de São Paulo; 15th Biennale of Sydney, Sydney (all 2006); Tropicália: A Revolution in Brazilian Culture, Barbican Art Gallery, London; The Bronx Museum of the Arts, New York; Museu de Art Moderna, Rio de Janeiro, Museum of Contemporary Art, Chicago (2005/06); How Latitudes Becomes Forms: Art in a Global Age, Contemporary Arts Museum, Houston; Venice Biennale, Venice, Italy; the Istanbul Biennial (all 2004). Recent solo exhibitions include Veja meu Bem, Tate Modern, London; Espelho, Museu de Arte Moderna, São Paulo (both 2007), and Vermelho Amarelo Verde Azul, Centre Pompidou, Paris (2005);