Counterpoints from the landscape
Sao Paulo, 2020
Some of the operations connected to the modern art, especially those from constructive actions that activate from the body and landscape approach, nature and the literal spatial displacements and the transmuted in sensory networks, from the technical operations metaphor starting points, define the exposure project of the artist Evandro Angerami.
The landscape approached here as multiple bodies – and vice-versa – that as sensory receptacles build themselves as counterpoints from the images, in this contemporary imperative of seeing and preserving them from the relentless density of the substance and the enigma of the contemporary artist, that among other discourses bring up alertness and concern for thesurroundings and the context that we habit and, also, in the art-nature and art-life aspects.
Angerami implants projective circularity operations that transits from the un-landscape and when invading with bodies as multiple receptacles, that load and dialogue in the changeability of the differences to build the visual manifests that vetoes the spatial and conceptual traditions, it propitiates the construction of solid expanded visual compendiums, asymptomatic from the volatile transience of the sensory spectrum of modern art, not with the affections but from different contexts.
Therefore, the landscape here shows itself as a living nerve that twists itself in latent vibrations; sensory movements that implant themselves and isolate in a changeable distancing from the plural interpretations that heightens. Revealing a technical domain and gradual discursive intensification of the conceptual and/or spatial entanglements, the artist “contorts” since his self-portraits, the interpretative literality of the romantic prevalence of the pictorial, for instance.
Thus, the photography records of the series Self-portraits, 2020, here as digital fingerprints of a natura invaded context and adequate to a pertinent cartography that behaves as self-portraits of multiple bodies: the registered surroundings, the artist, the photography equipment. Moreover, these self- portraits soar themselves now from the home/studio of Angerami validating this transforming operational continuity of the private experience and/or collective and legitimizing of the relevance of the paintings and images, both as masterpieces: paintings, installations, video installations, digital fingerprints, sculptures etc.
The artist articulates a sensory confrontation when it changes the context of the register (the digital fingerprints, the fire and smoke videos) or the “real” material from that scene or scenes – such as the wooden stumps, rocks and demolition remainings (from the series Archipelago, 2020) with drawings on them or on the walls of the architectonic space itself, the paintings and/or a combination of them, or even in the spatial and technic dislocation themselves that the artist carries through to build these new scenarios that invade and change the reality of the architectural space preceding of coexistence and labor from a domestic context now in a receptacle expanded as ART.
Including, the transgressing discourse of Angerami as an active social agent to sharpen with the tools of a visual artist committed to a critical positioning, a warning to preserving nature and human beings.
As one can observe in the video (Winter Garden 2020) in the winter garden of the construction, whether in birds in the garden of the studio or the insertion itself of the burned stumps in a natural context as in proto-collages to elicit, with the installation Live-landscape, one reflection on the necessity of preservation of nature. Activated the exhibition, the modalities and contemporary artistic agents through the absorbing variations of the proposed esthetical discourses, from the verticality of the architectural spaces to the visual cuts that expand to mix, sew and irradiate themselves, directionless, find itself in stimulating counterpoints of a mutable, tensionable and poten artistic installation... in times of isolationism.