Artista

Manoela Medeiros

1991 en Rio de Janeiro, Brasil

Datos generales
Algoritmo AI

Residencia:

Reside en Rio de Janeiro, Brasil

Profesionales que le han comisariado:

Maria Catarina Duncan en:

é.é.é, 2015

Ferias en las que participa con OBRA :

Art Basel Miami Beach 2023
Pinta Miami 2023
ArtRio 2023

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Galerías y otras organizaciones que le representan:

Double V Gallery

Galeria Nara Roesler

Kubikgallery

Descripción del Artista

Manoela Medeiros estudou na École Des Beaux Arts em Paris e na Escola de Artes Visuais do Parque Lage, onde participa do programa Práticas Artísticas Contemporâneas Nível II. Formou-se na PUC-Rio e posteriormente estudou fotografia na universidade IADE-Creativy University, em Lisboa. Tendo a presença e entrega do corpo como instrumento no processo de sua pesquisa, a artista busca tatear abstrações através de questionamentos em torno do tempo e espaço, vazio e invisível. Já apresentou seu trabalho no Palácio do Quintela (Lisboa,2014) e no Abre Alas na galeria A Gentil Carioca (RJ,2015). Atualmente apresenta uma exposição individual, "Instruções Para Construção de Uma Ruína" na Casa Mata (RJ,2015) e integra a exposição coletiva "A Mão Negativa" no Parque Lage com curadoria de Bernardo de Souza (RJ, 2015). Apresentará sua performance "Lugar do Ar" na mostra Verbo, Galeria Vermelho (SP,2015). < ENG Manoela Medeiros was born in Rio de Janeiro, Brazil, in 1991. She ... currently lives and works in Rio de Janeiro, and Paris, France. Medeiros studied at the École Des Beaux-Arts, in Paris, and at the Escola de Artes Visuais do Parque Lage, in Rio de Janeiro. Solo exhibitions include: Concerto a céu aberto, at Kubik Gallery (2020), in Porto, Portugal; L'être dissout dans le monde, at Galerie Chloé Salgado (2019), in Paris, France; Poeira varrida, at Galeria Fortes D’Aloia & Gabriel (2017), in São Paulo, Brazil; and Falling Walls, at Double V Gallery (2017), in Marseille, France. Group exhibitions include: Recyclage / Surcyclage, at Fondation Villa Datris (2020), in L'Isle-sur-la-Sorgue, France; Reservoir, at 019 (2020), in Ghent, Belgium; Vivemos na melhor cidade da América do Sul, at Fundação Iberê Camargo (FIC) (2018), in Porto Alegre, Brazil; Espaces témoins, at Praz Delavallade (2018), in Paris, France; 67ème Prix Jeune Création, at Galerie Thaddaeus Ropac (2017), in Paris, France; 62ème Salon Montrouge (2017), in Paris, France; In Between, at Galeria Bergamin & Gomide (2016), in São Paulo, Brazil; 11º Abre Alas, at Gentil Carioca, (2015), in Rio de Janeiro, Brazil; among others. In her practice, Medeiros articulates an approach to painting that transcends the specificities of the medium, making use of sculpture, performance, and installation work. Pursuing a hybrid framework for the pictorial, Medeiros questions artistic media by going beyond their conventional formats, producing paintings and in situ installations that explore the relationships between space, time, and the corporeality of art and of the viewer. The artist frequently performs direct interventions into exhibition spaces, creating works that emerge from the singularities of the space around her, whether they be material, structural, or in relation to natural and artificial light. With this, her practice attributes a sense of organicity to space, turning architecture into its own body, one that is specific to the experience of art. Through a seemingly archeological process, Medeiros engages with the notion of ruins as a spatial indication for passing time, undertaking a process that reveals what is often left to underlie. The artist scrapes surfaces - such as the exhibition space's walls-, unveiling the layers of colors and materials employed, covered, and thus, forgotten over time. Medeiros seeks to reinvigorate our temporal experience by exhibiting layers -each of which carries the memory of the time when it was created-, and by allowing them to coexist and intertwine. Thus, the artist operates within a liminal space between construction and destruction, foregrounding how they may complement, rather than detract from each other.