Artista

Roberto Magalhães

1940 en Rio de Janeiro, Brasil

Datos generales
Algoritmo AI

Residencia:

Reside en Brasil

Exposiciones individuales vigentes:

Roberto Magalhães

Exposiciones colectivas vigentes:

Petite Galerie: Franco Terranova e as vanguardas brasileiras

Profesionales que le han comisariado:

Felipe Scovino en:

Roberto Magalhães, 2023

Galerías y otras organizaciones que le representan:

Casa Triângulo

Silvia Cintra Galeria de Arte + Box 4

Organizaciones con obra:

Instituto Cultural Roberto Marinho - Casa Roberto Marinho - Fundação Roberto Marinho

Museu de Arte Contemporânea de Niterói - MAC de Niteroi

Museu de Arte Moderna de São Paulo (MAM-SP)

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Profesionales con obra:

Colección João Sattamini

Enlaces oficiales:

Web Facebook

Descripción del Artista

The oeuvre of Roberto Magalhães is characterized by a distortion of the real, through which he makes us perceive how grotesque and yet paradoxically hilarious reality can be. The shapes of his characters, portraits, self-portraits, objects and landscapes appear dissolved, extended, contracted, monstrous, funny and notoriously out of order. They are fictional characters and scenes that nonetheless construct a strong associative link with reality. Indeed, fiction and reality do not find very clear distinctions in his work; they blend together, even as they complement and feed off one another. Roberto has constructed an autonomous place in Brazilian art, producing an oeuvre running against the grain of spectacularization and the schools that would otherwise delineate a style for his work. His politics is authorial and independent from any specific art movement. Under the shadow of the expressionism that marked his outset, he went through a period of insightful criticism of the dictatorship, ... with prints that evinced the acerbic humor that was to characterize him in the following years. The smile – an element of his work – is converted into a sneer, often at himself, as we see in an extensive production of self-portraits. In the 1960s the smile became a powerful mechanism of reflection on a terrified society, and in the 1980s – when we saw the beginning of a return to democracy, after a little more than 20 years of dictatorship – the smile continued being a weapon for the raising of awareness. Roberto’s work, and his jesting, therefore, circulate on this tightrope between tragedy and the smile, violence and mockery. Felipe Scovino

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