Fábio Baroli
area: Visual Art
Key Facts
nationality
Brazilarea
Visual Artresidence
Uberabarecommending institution
Jan Arnold Gallerytime period
February 2017 - February 2017Einzelausstellungen
2016
Quando a seca entra, bei Centro Cultural Banco do Nordeste CCBNB – wandernde Ausstellung zwischen Sousa/PB e Juazeiro do Norte/CE.
2015
Deitei pra repousar e ele mexeu comigo, Kulturzentrum Banco do Brasil CCBB (Brasília/DF) – kuratoriert von Renata Azambuja;
Quando a seca entra, Superfície Galerie (São Paulo/SP).
2014
Cor de burro quando foge, Luciana Caravello Arte Contemporânea (Rio de Janeiro/RJ) Galerie – kuratorier von Raphael Fonseca;
Muito pelo ao contrário, Kulturzentrum Banco do Nordeste CCBNB (Fortaleza/CE) – kuratoriert von Renato Silva.
2013
Vendeta: a intifada, Funarte Recife - Nordeste Raum für die Bildende Kunst (Recife/PE) und Arte Teatro SESI Galerie (Uberaba/MG) – kuratoriert von Renato Silva.
2012
Vendeta, Moura Marsiaj Galerie (São Paulo/SP) – kuratoriert von Bitu Cassundé;
Domingo, Laura Marsiaj Galerie (Rio de Janeiro/RJ) – kuratoriert von Marcelo Campos.
2011
Lar doce lar, Kulturzentrum Banco do Nordeste CCBNB (Sousa/PB);
2010
Narrativas Privadas, Museum für Zeitgenössische Kunst von Mato Grosso do Sul, MARCO (Campo Grande/MS);
Erotismo e Apropriação, Städtische Adamastor (Guarulhos/SP);
Narrativas Privadas, Galeria Laura Marsiaj (Rio de Janeiro/RJ).
Gruppenausstellungen
2015/2016
Vértices – Coleção Sérgio Carvalho, Kulturzentrum Correios - wandernde Ausstellung (Brasília/DF; Rio de Janeiro/RJ und São Paulo/SP) – kuratoriert von Marília Panitz, Marisa Mokarzel und Polyanna Morgana.
2014
Prêmio Aquisições Marcantonio Vilaça Funarte 2013, Museum für moderne Kunst von Rio de Janeiro, MAM/RJ (Rio de Janeiro/RJ) – kuratoriert von Luiz Camillo Osorio e Marta Mestre;
EntreCopas – Arte brasileira 1950-2014, Nationalmuseum von Brasília (Brasília/DF) – kuratoriert von Wagner Barja;
Como refazer o mundo, Luiz Ferando Landeiro Galerie (Salvador/BA) – kuratoriert von Divino Sobral;
Duplo Olhar, Paço das Artes (São Paulo/SP) – kuratoriert von Denise Mattar.
2013
Nossa exposição de desenhos, Kunsthaus Lateinamerikas, CAL (Brasília/DF) – kuratoriert von Quarter to three p.m. e P.I.C.C.R.V.;
Crer em fantasmas: Territórios da pintura contemporânea, Kulturzentrum Caixa Cultural Brasília (Brasilía/DF) – kuratoriert von Marcelo Campos.
2012
Mutatis Mutandis, Moura Marsiaj Galerie (São Paulo/ SP) – kuratoriert von Marcelo Campos;
64º Salão Paranaense,Museum für Zeitgenössische Kunst – MAC/PR (Curitiba/PR);
3º Prêmio Belvedere de Paraty – Künstler in Residenz (Paraty/RJ);
Territórios, Funarte Recife – Nordeste Raum für die Bildende Kunst (Recife/PE) – kuratoriert von Bitu Cassundé;
Convite à Viagem - Rumos Artes Visuais 2011/2013, Itaú Cultural Institut (São Paulo/SP) – koordination von Agnaldo Farias;
2011
30º Salão Arte Pará, Romulo Maiorana Stiftung (Belém/PA);
X Prêmio de Arte Contemporânea do Iate Clube de Brasília, Yacht-Club Brasília (Brasília/DF);
2º Prêmio Belvedere Paraty Arte Contemporânea, Belvedere Galerie (Paraty/RJ);
10º nationale Kunsthalle von Jataí (Jataí/GO);
39º Zeitgenössischer Kunsthalle Luiz Sacilotto, Casa do Olhar (Santo André/SP);
2010
Aos ventos que virão... Brasília (1960 - 2010), Kulturraum Contemporâneo - ECCO (Brasília/DF) – kuratoriert von Fernando Cocchiarale;
16° Salão Unama de Pequenos Formatos, Arte Graça Landeira Galerie (Belém/PA);
Arquivo Brasília: cidade imaginário, Kulturraum Marcantonio Vilaça (Brasília/DF) – kuratoriert von Renata Azambuja;
Brasília Prazer de Pintura, Fayga Ostrower Galeire von Kulturstiftung Funarte / Aussenministerium (Brasília/DF) – kuratoriert von Bené Fonteles;
Projeto Ocupação Contemporânea, Referência | Galeria de Arte Galerie (Brasília/DF) – kuratoriert von Marcus Lontra;
2º Salão Fundarte/Sesc de Arte 10X10, Sesc de Uruguaiana (Uruguaiana/RS);
Mostra Coletiva Olheiro da Arte, Kulturzentrum von Justiça Eleitoral CCJE (Rio de Janeiro/RJ) – kuratoriert von Fernando Cocchiarale.
2009
1° Prêmio Espaço Piloto de Arte Contemporânea, Espaço Piloto Galerie (Brasília/DF);
28° Salão Arte Pará, Museum der Universitäts Pernambuco (UFPA) (Belém/PA);
4º Espaço expositivo Beco da Arte - Projetos para o quarto, Beco da Arte Galerie (São Paulo/SP);
9º Kunsthalle für bildene Kunste de Guarulhos, Centro Municipal de Educação Adamastor (Guarulhos/SP);
2º Kunsthalle Fundarte/Sesc de Arte 10x10, Arte Loíde Schwambach Galerie (Montenegro/RS);
Kunsthalle von Novo Hamburgo, Kunstraum Albano Hartz (Novo Hamburgo/RS);
57º Kunsthalle von Piracicaba, Pinakotech Miguel Dutra (Piracicaba/SP);
5° Kunsthalle von Plásticas de Suzano, Kulturzentrum Francisco Carlos Moriconi (Suzano/SP).
2008
Semblantes, Galeria da Faculdade de Artes Visuais - UFG (Goiânia/GO); Kunstmuseum der Universität Uberlândia- MUnA (Uberlândia/MG) und Kulturhaus Lateinamerikas - CAL (Brasília/DF) – kuratoriert von Wagner Barja;
Ocupação da Galeria do Espaço Piloto, Galeria Espaço Piloto UnB (Brasília/DF) – realiziert von Núcleo Fora do Eixo Galerie;
2007
Telúrico, escultura para o espaço público – Universität Campus Darcy Ribeiro - UnB - Plano Piloto (Brasília/DF) – koordination von Miguel Simão.
2006
multipliCIDADE, Ações e Intervenções Urbanas na ilha de Vitória (Vitória/ES) – koordination von Coletivo Entretantos;
Catedral Rosa, Intervenção Urbana na Catedral de Brasília (Brasília/DF) – koordination von Gê Orthof;
Auszeichnungen
2013 – Prêmio Aquisições Marcantonio Vilaça Funarte 2013;
2012 - Prêmio Investidor Profissional de Arte – PIPA (nominiert);
2012 - Prêmio Funarte de Arte Contemporânera - Sala Nordeste de Artes Visuais Recife;
2011 - Prêmio Funarte de Arte Contemporânera - Sala Nordeste de Artes Visuais Recife;
2011 - 10º Prêmio de Arte Contemporânea do Iate Clube de Brasília (Brasília/DF);
2009 - 1° Prêmio Espaço Piloto de Arte Contemporânea, Galeria Espaço Piloto (Brasília/DF);
2009 - 9º Salão de Artes Visuais de Guarulhos, Centro Municipal de Educação Adamastor (Guarulhos/SP);
2009 - 28° Salão Arte Pará, Universitätsmuseum von Pará Universität- UFPA (Belém/PA);
2009 - 5° Salão de Artes Plásticas de Suzano, Kulturzentrum Francisco Carlos Moriconi (Suzano/SP).
Kunstwerke in Museen
Museu de Arte Moderna – MAM/RJ, Brasil;
Museu de Arte do Rio - MAR, Rio de Janeiro, Brasil;
Brazil Golden Arts Investiments, São Paulo, Brasil;
Museu Nacional de Brasília, Brasil;
Museu de Arte Contemporânea do Mato Grosso do Sul, Brasil;
Fundação Romulo Maiorana, Belém, Brasil;
Centro Cultural UFG, Goiânia, Brasil;
Centro Cultural Francisco Carlos Moriconi, São Paulo, Brasil.
Work proposal
The work proposal presented for this residency focuses around a possible continuation of the series Quando a seca entra (When the drough arrives). The series is composed of independent oil paintings in small formats constituted by fractions of images, that relate to each other in a visual narrative. For each composition, vintage analogical photographies taken from family albuns and from digital sources are used.
This work presentes images from the daily life in the Brazilian countryside, mainly from the state of Minas Gerais, covering different places, times and generations. A mixture of memories that allow a (re)cognition of images that inhabit the imaginary of many. A game of images and remembrances that seeks, through reinterpretation, to create a bond with stories that one has lived or heard about.
My trajectory as a visual artist is marked by distinct periods in distinct places, therefore, the works from the series Quando a seca entra were developed during my return to my heimat (Uberaba, MG) – after having lived for almost a decade between Brasília and Rio de Janeiro – an experience that provided me the daily livingness of that place, the country side, in order to deepen my research.
What I propose, whoever, is the possibility to enlarge this research, mixing finished works and works to be finished, based on the transformations that my work and research will undergo from the new experiences in a new place, with new people, culture, history and scenery.
Description of the project
The idea behind this residency project is the concept of “work in progress”, meaning the development of artistic poetics that are presented to the public in the making: the starting point of this concept is the idea that the unfolding of the artistic practice is what constitutes the work, together with the questions posed to the artist throught the perception of others, each of those perceptions adding a new discursive layer to the object.
The idea of “work in progress”, on the other hand, came from the reflection over the possibility of a spin-off of the Quando a seca entra series, initiated in 2015, eleven years after having started my trajectory in the art world. The iterary rythm in which the paintings were produced allows me to outline a point of analysis for the work, having as initial reflection the questions: What is kept? What appears throughout the series? What changes?
The reflection, however, is not limited to these initial questions: although the ontological questions related to the poetic construction of the work (the artistic-mental mapping) are the foundation stone of the observation that gave origin to the series, in this case, the information related to the occupied territories (travel mapping) throughout my (life) trajectory, is also pertinent on the composition of the work. Those factors stem from the return to the heimat , which is most likely not an ending station, but mostly another pin to be dropped on my wanderings.
It is through the inter-relation of these mental maps that this residency project becomes relevant. Through this residency, I seek the possibility of further gathering impressions and influences in a different and yet rich and stimulating cultural environment, where layers of time and space can form a dialogue, be compared to one another, forming communicating vessels.
The residency experience aims to embrace the development of the series not simply like a sucssession of happenings, but as instants that transit between past, present and future, always keeping in mind the trajectories, the teachings and the twists of fate related to the poetics that will influence the work, creating, therefore, mental maps that, many a times, scramble with one another.