Centro Cultural Correios • 10/16 to 11/30/24

Lights, yes. No cameras, okay. And, correct, we must agree: there’s quite a bit of action here, spreading across the exhibition space. In his first solo exhibition at an institution, Raphael Medeiros (1988) occupies two exhibition rooms at the Centro Cultural Correios, in the heart of Rio de Janeiro. This setup not only allows us […]

Lights, yes. No cameras, okay. And, correct, we must agree: there’s quite a bit of action here, spreading across the exhibition space. In his first solo exhibition at an institution, Raphael Medeiros (1988) occupies two exhibition rooms at the Centro Cultural Correios, in the heart of Rio de Janeiro. This setup not only allows us a generous view of his artistic production over recent years, but also offers a glimpse—whether through cracks or the translucency of his various fabrics, for example—into a significant portion of his current work gathered here.

It should be said upfront that Medeiros is an artist who comes from the field of audiovisual and cinema. Even though it’s unnecessary to cling to boundaries that connect little and foolishly separate often borderline and intersecting artistic fields, the fact is that the artist discovered his vocations and aspirations behind the camera, on film sets and similar environments, where he worked in various roles for many years.

It is from this universe that Medeiros gradually transported his vision as, for example, a cinematographer, to direct looks that are perhaps less abstract than the image formed within a cinematic lens. He is still naturally inspired, not only by the aesthetics of cinema—here omnipresent in materials such as reflectors and light diffusers, iron objects of different sizes and shapes that take on unexpected sculptural contours—but also by its linguistic possibilities.

Thus, from his first exhibition, Medeiros, as an artist with a camera in his head (or at least with a pen in hand to sketch a possible script), draws from facts of his own life, specifically a deeply significant episode for himself, his family, and close ones, from his earliest childhood—a time from which, naturally, he has no memory.

The fateful episode, involving a murder and the power of militias in socially vulnerable territories (in Medeiros’ case, in the city of São Gonçalo, in the state of Rio), emerges as more or less apparent clues, as the artist chooses the second exhibition room as the territory to be occupied by his first series of works.

Orbiting around this personal episode—through clues, vestiges, and excerpts of testimonies collected from legal sources by the artist himself—Medeiros creates a kind of “total work of art” (the so-called Gesamtkunstwerk, referencing the famous German term), imbuing his works with paints, colors, and forms reminiscent of a troubled past-present, as red as blood and as white as the void of memory, along with countless intermediate tones that help connect the loose threads of a scene as emblematic as it is cinematic in its effects and calibers.

In the first room, moving in the reverse direction of the artist’s process, we find his most recent works, where we can observe a practice in constant evolution, despite the obstacles and small miracles that occur in the daily grind of the artist’s studio. If, in some way, the almost-script, half true, half belonging to the imagination (of the artist himself and of many other agents involved in Medeiros’ personal narrative), evokes the boundaries where fiction and truth dance on a tightrope, it is also in Raphael’s works that we are able to detach ourselves from any narrative anchor.

Or, better yet, to surpass, transcend, and transmute it: his works invite us to a moment that takes place in the time of the here and now; they usually capture our reflections, hypnotize our retinas, and deceive our senses with light, colors, and action. However, in this exhibition space, unlike a film set, the action is dictated bilaterally—often in a consensual, passive, or telepathic silence. The works act, we act, the stories remain, the stories escape, the stories also fade. From the starting point once again. More lights, no cameras, even more action.

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NONADA ZN • 09/14/24 to 01/25/25

Nonada presents 12, a site-specific work by Manu Costa Lima, created in partnership with Quadra gallery, at Nonada ZN’s Galpão. The artist draws from the research she has developed throughout her career, in which light engages in dialogue with architecture, the urban surroundings, space, and the relationship between interior and exterior. In 12, the artist […]

Nonada presents 12, a site-specific work by Manu Costa Lima, created in partnership with Quadra gallery, at Nonada ZN's Galpão.

The artist draws from the research she has developed throughout her career, in which light engages in dialogue with architecture, the urban surroundings, space, and the relationship between interior and exterior.

In 12, the artist guides points of light across the entire factory grounds and part of the warehouse until they converge at the center of the space, creating a path that reveals and integrates the architecture and the surrounding environment.

According to the artist, “12 is a celebration of life, of light. It is an invitation to a mindful listening of the place, to walk around the warehouse, and to discover the sacred beauty that exists in everyday life."

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NONADA ZN • 03/16 to 05/18/24

Nonada is proud to host the activation of the performance Spacemen/Cavemen in collaboration with Galeria Vermelho. The event will take place in Nonada ZN, in the gallery’s Penha space. Nonada’s programme across four locations in Brazil reflects a concern with highlighting marginalised and unconventional voices. Propelled by the desire to catalyse dialogue through exposition, their […]

Nonada is proud to host the activation of the performance Spacemen/Cavemen in collaboration with Galeria Vermelho. The event will take place in Nonada ZN, in the gallery’s Penha space.

Nonada’s programme across four locations in Brazil reflects a concern with highlighting marginalised and unconventional voices. Propelled by the desire to catalyse dialogue through exposition, their proposal does not shy away from current political, identitary or gender issues. Their “Zona Norte” location in the Penha neighborhood specifically aims for the democratization of art by bringing a diverse cultural offering to the outskirts of the traditional art market circuits in the city.

The collective Chelpa Ferro was created in 1995 by artist Luiz Zerbini, sculptor Barrão and cinema editor Sergio Mekler. This multi-media endeavor was founded on the establishment of connections between visual arts, electronic music, video, performance as well as exhibition and installation. Their work is based on creating interconnections that transcend disciplines, spanning both time and location. To this end, they often recycle obsolete machinery and objects in order to provoke extra-sensorial experiences in the viewer. A concoction of diverse components results in complex audiovisual networks that probe the plasticity of sound.

Titled “Spacemen/Cavemen”, the work already announces a conjunction between disparate factors. In this case, the evocation of past and future stand at odds in this unique iteration of the performance. References to the pitfalls of mass consumerism are accompanied by a feeling of post-apocalyptic malaise, coalescing into a multi-sensory immersion for the spectator.

In this latest re-activation, the installation will inhabit the unique space that is the Nonada ZN, previously an abandoned clothing factory. This dialogue will add yet another layer to the work— itself predicated on ideas of salvaging and re-signifying. Whereas Chelpa Ferro recovers and recycles discarded objects into art, the Nonada project re-signifies and reclaims a manufacturing plant into a vast cultural centre. Furthermore, the performance will be surrounded by works from the exhibition Caos Primordial, curated by Carolina Carreteiro. In this way, a dialogue between contemporary artists from the gallery and the renowned collective will encourage the creation of new associations across time and space.

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NONADA ZN • 12/09/23 to 08/10/24

Dear reader, this text doesn’t need to be read right now. It’s not introductory or essential for you to see what lies ahead. If you wish, fold it, keep it, and read it later, recalling what’s necessary from memory. Everything will be sufficient when this moment happens.  Now, after the voids have filled the spaces […]

Dear reader, this text doesn't need to be read right now. It's not introductory or essential for you to see what lies ahead. If you wish, fold it, keep it, and read it later, recalling what's necessary from memory. Everything will be sufficient when this moment happens. 

Now, after the voids have filled the spaces and the echoes have grown distant, we can finally talk about Adrianna Eu and her work created for the Factory. Using the memories of affections and encounters seems like the most honest resource to write this text. Adrianna has been developing research for several years that starts from this practice and speaks of issues that, because they are so profound, connect us. From the core to communion, her works reveal the reverse. Memories are paths through the sensitive that align our history. 

This project, created especially for the Factory, promotes a meeting of Adrianna with a reality that is not only part of her aesthetic vocabulary but also of a creation atmosphere that uses sewing as a gateway to a poetic and metaphorical universe. By occupying the sewing floor of the old Marilan factory, which operated for over 40 years producing intimate and beachwear, the artist enters the heart of this industrial body. In this place, sewing was carried out by thousands of professionals, mostly women, who earned their families' livelihood at those workbenches. Through fabric manipulation, cuts, patterns, threads, elastics, and lace, the pieces were the result of a process made by dozens of hands. That heart, so representative in Adrianna Eu's work, here projects itself as space, made of iron and concrete, still pulsating with the frenetic noise of machines that no longer sew. 

This feeling of suspension, of the moment frozen in time, that a deactivated floor of a factory produces, is manifested through a golden two-headed needle that measures Adrianna Eu's exact height: 1.64 meters. Laid on the floor and occupying the vanishing point of the installation, this object seems to capture the moment of deviation, the pause in productivity, the chance, and the instant when the gear stops and life reveals itself. Its dimensions guide us that both in name and in work, the Self is the measure. Its forked shape suggests both separation and encounter, paths of the same road, impulses of a human need to relate. Love and Gratitude: everything starts from inside and returns, from outside to inside, like the needle sewing the invisible. 

In the sea of machines, the lines of life tangle. One mistake joins so many other mistakes forming a web that re-unites: we are all the same. This encounter is the spiritual moment when the Self becomes consciousness. It is the key to existence. By listening to these voices that still converse, these presences that still occupy the space, Adrianna opens the chest of this body and shows its arteries that vibrate the red blood of life. They are like frayed and torn fabrics by the natural movement of life, subject to repairs, sutures, and patches. After all, who doesn't have scars? 

Adrianna affirms: I sew inwards. In a sensitive and conscious way, emotion guides her production and rescues the ancestral meaning of this word: ex movere, to move outward. In the practical challenge of being an artist, this Self is the mirror where both Adrianna and we can see ourselves. By connecting through such intense feelings, her works become universal and capable of pointing a contemporary path where affection is the amalgam of our social relationships. 

As for me, her works seem to hear my whispers. From the "Pure Heart" to this installation, I feel as if everything comes out of my chest, exploding and pulsating almost always immeasurably. Her works do that, they seem to pull from us, through a subtle and delicate thread, what we have most intimate, uniting us between strengths and fragilities. 

For this space, "Intimate Sewing" reveals the viscera of what is deepest. By becoming an Art Factory, the old Marilan also opens its chest to the new, gathering affections, hopes, and dreams of a world where we can be increasingly intimate, more united, more sincere, more Self. 

Rafael Fortes Peixoto

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Nonada ZN • 09/12/23 to 02/17/24

BODY-GESTURE was conceived from the discussion about the body’s intention towards the gesture: an emotional gesture, an intentional gesture, a reactive gesture, a mark of identity, or even the prevention of a gesture. It was from the consideration of this plurality of results through gestures that the curation was established, featuring a variety of works […]

BODY-GESTURE was conceived from the discussion about the body's intention towards the gesture: an emotional gesture, an intentional gesture, a reactive gesture, a mark of identity, or even the prevention of a gesture. It was from the consideration of this plurality of results through gestures that the curation was established, featuring a variety of works that encompass both bodily expressions and results obtained through body movements.

Considering gesticulation as an expression or an attempt by the human body to restore normality, we propose an exclusive curation of female or non-binary artists to address this theme. The presented works translate their experiences with and through their bodies, exploring relationships with bodily movements.

The images of the artists' bodies are present in some of the works, highlighting the curatorial proposal more visibly. For example, Letícia Parente, through her film developed from photographic images, gestures with feet and hands and asks for "ora pro nobis [pray for us]," positioning the body as sacred or seeking divine intercession for protection. Darks Miranda, on the other hand, strikes a pose that alludes to an obscene gesture while enjoying a papaya, challenging the objectification of "fruit-woman" characters and finding pleasure in herself.

For Anna Bella Geiger's participation, we suggest one of her most emblematic works, in which the artist criticizes a simulated national identity in Brazilian postcards. By repeating indigenous gestures on these postcards, Geiger exposes not only the exoticization of the images but ironically presents the gap between the stereotyped and romanticized representation of these images and the harsh reality of violence suffered by indigenous peoples from the State. In addition to this work, two other photographs of hers are present in the exhibition, depicting the outline of a body-shaped excavation in the earth, resembling a ritualistic scene. We can approach the work in two ways: imagining the artist's presence as the subject of this ritual process and as the person behind the hands that dig the marks.

Carla Chaim and Niura Bellavinha incorporate traces of the artists' presence in their works. Bellavinha's brush mark and Chaim's handprint in the work titled "Tapas" emphasize the artists' movements, revealing the body as the marker of expressive gestures: expressive gestures that delineate the performativity of the artists. Presence and gesture also function as the action of time on the act of painting. Márcia Thompson's works elevate this dialogue considering opposing actions: the work, the material does not contain itself. The oil paint displays mastery, causing the artist to lose control. The slow-drying paint, suddenly enclosed within an acrylic box, will take even longer to harden, and in doing so, it will stain the once-clean walls of its containment. The lack of control allows the gesture, the mark, and the body of the work to develop freely, growing into the space immeasurably.

Lia Chaia presents two photos of safety screens with cutout patterns à la Fontana, exposing more clearly what is behind them. The cutting gesture allows the obscuring of planes, from the foreground (screen) to the background (space or garden), from what is artwork to what is life. Considering the execution of the work in photographic print, the planes are a single one, producing an imagistic manipulation that actually opens space for the transposition of other places, such as the forests and gardens behind the controlled panels.

Many sculptural works transfer the image of gestures to material corporality, giving reality to the fragments and traces of the body. Artists Ayla Tavares and Mestre Irinéia investigate handprints and meticulous traces. Tavares develops upside-down and tortuous candelabras, disturbing the practical logic of the object. In the assembly of the sculptures, we perceive the drawings made by the artist on the surfaces that remain hidden as supports for the upper pieces, a gesture of care and affection for what is interior, for the work, and for those who handle it. Both artists consecrate the past, nature, and the natural. Irinéia tramples, kneads, and molds the clay in a very artisanal way; her sculptures are memories of a local experience in her community. The tree presented in the exhibition recalls a flood in which she and her sisters spent the night on a jackfruit tree waiting for the water to recede.

Iole de Freitas's sculpture is composed of translucent polycarbonate plates and a large threaded spear that connects the three separate plates. The polycarbonate forms move under the artist's hands, twisting or moving in an unusual and even improbable way. Like a stretch or a dance, we notice the tension of each pose that maintains balance, strength, and lightness. Iah Bahia's sculpture is made with pattern paper for clothing, molded through herself, making the paper itself—a light material that is at risk of wrinkling or tearing—substantial.

Both Ana Clara Tito and Brígida Baltar explore in their works the paradox between refuge and detention. Tito's sculpture "Uses of Anger" is manufactured from the artist's body, which, through bodily strength, shapes rebar around herself, potentially serving as an object of protection or imprisonment, prompting a reflection on the limits and defenses that permeate the human condition. Baltar refers to the idea of protection, of building shelter, by using bricks to erect a wall around herself. From a series of records of an action, we observe the artist structuring a circular tower that ends up enclosing her instead of sheltering her.

The rust marks of elaborate metal grids are printed on Agrade Camiz's canvas. Allowing it to happen, letting time take control of the course and not just the intention, the mark left can be an analogy to a scar, as the title of the work certifies, and also to the process of relinquishing our ability to endure, accepting the traces as part of experience. Rose Afefé's painting also intersects with temporality. Laden with nostalgia, it elicits an almost uncontrollable desire to relate to it, inducing the imagination of the manual movement of opening or closing the latch. What is open or closed? What is exposed or covered? These are questions that arise but are answered based on each person's affection.

Lyz Parayzo, through her mobile, suggests a counter-gesture: a playful object that, in reality, triggers injuries and cuts on the skin, representing a counter-attack to those who dare to interact with the work. The work results from gestures of bodies that defend themselves and therefore attack. Nazaré Pacheco's works, almost as a premonition of intervening with Parayzo, are cause and consequence: the image of blood drops is the result of a slight imprecise handling of razors and scalpels so present in the artist's research and life, a result of the execution of an anti-touch work.

Adrianna Eu presents a simple work: a silver brush where, instead of teeth, there are silver threads. Beyond a counter-gesture, the impossibility of the gesture is presented in the total hindrance of using the brush in a usual way, which would tangle the metal wires with those of the head. The work, after all, carries the title "The Useless."

Val Souza creates an encounter with the viewer. By using mirrors, the work can only be complete from the reflection of those who face it and the environment around it. However, this mirror is divided and fragmented into semicircles that never complete, making it difficult for the usual gestural practices to occur.

Gabriela Davies and Maíra Marques

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Nonada ZN • 12/09/23 to 02/17/24

“Said Nothing More” is a film that takes shape in Raphael Medeiros’s first solo exhibition at Nonada ZN’s Galpão. Medeiros delivers a hybrid work that blurs the conventional definitions of a film. In this cinematic installation composed of paintings, sculptures, and a script, the artist takes notes on the language of cinema beyond the frame […]

"Said Nothing More" is a film that takes shape in Raphael Medeiros's first solo exhibition at Nonada ZN's Galpão.

Medeiros delivers a hybrid work that blurs the conventional definitions of a film. In this cinematic installation composed of paintings, sculptures, and a script, the artist takes notes on the language of cinema beyond the frame of the shot. To visit this film set, it is recommended that the spectator comes when the sun sets, as the night brings the ideal lighting condition for the installation.

Script:
NOTHING MORE SAID
Raphael Medeiros
(this is a work of fiction)

BLACK SCREEN
"São Gonçalo, August 20, 1990. A street in Coelho wakes up to the sound of three firecrackers. A lot of out-of-season June festival is happening."

SCENE 01 - internal night - Nonada warehouse
With the camera's view at ground level, we see two stretched legs that seem to come from outside the frame. And as usual, whenever the shot can't contain the subject, the frame imposes its limit. Where the frame is respected, machinery and camera are just tools. Here it cuts this body right at knee level.
"Even when attentive, it's hard to see some subjects. Decoupage, script, shooting plan, and schedule make you look so much at the screen that you end up blind."

SCENE 02 - external day - banana storage
Full and yellow screen. As the camera opens the shot, we see kilos and kilos of bananas. And right there, amidst the bananas, a young person spots legs.
"He said he was working in the banana storage when he heard the noise of firecrackers, that his mother always told him not to get involved in these things, that he only noticed what happened when he saw the legs fallen on the sidewalk, that he heard the defendant demanding money from the victim, and said nothing more."

SCENE 03 - internal night - Nonada warehouse
"factory light of fetish
machinery and language
fabulation, fiction, anxiety
mining lies seeing mirage
she is my art dealer
critic, curator, gallerist"

SCENE 04 - external day - dirt road
In sequence, we see many legs passing through the camera, abrupt cuts between shivers and still shots, we see a pair of legs, now standing, now running, then two, then one again, then about twenty, then one horizontally.
"He says that around nine o'clock he heard three gunshots, that when he arrived at the bar he saw the victim lying with legs outside the establishment, that the defendant had left the scene with his gun in hand pointing at people and saying that those who said anything would meet the same fate, and said nothing more."

SCENE 05 - internal night - Nonada warehouse
"Raphael Medeiros says he is a filmmaker and artist, that he is also a liar, that every location visit is an aesthetic dive, that everyone in a film crew are actors, that all machinery and light objects are artworks, and that every set is a performance, that a script or a procedural version are similar collections of clues from many already fictionalized realities, that he became a storyteller even though he doesn't remember the sound of firecrackers, and said nothing more."

SCENE 06 - internal day - baby's room
A winter sunbeam hits a mobile with hanging teddy bears. Contemplating her baby in silence, a mother changes diapers.
"She says that on the day of the incident, she was inside the house changing her baby's diapers when she heard gunshots, initially thinking they were firecrackers, that she saw the legs outside the bar, that she saw the young one clinging to the victim's neck, that she bathed the young one to wash off the blood on him, and said nothing more."

SCENE 07 - external day - bus
A man rests his head on the bus window, and in the reverberation of the morning sunbeams, the road connecting São Gonçalo to Niterói looks like a river where his eyes navigate in total calmness.
"The defendant, a retired Navy corporal, says that the victim had a business in a property that he owned, that he is unaware of the fact that the victim had to pay a daily fee for the place, that the deponent was not at the scene at the time of the crime, that he had a revolver, that after being retired from military service, he settled in São Gonçalo, that he heard that the victim was holding his son when he was hit, and said nothing more."

SCENE 08 - internal night - Nonada warehouse
Through the theater of static shadows, images from the artist's personal repertoire are projected onto backstage objects that dialogue with lies, versions, and fabulations that go beyond the frame of the shot. We follow the dissipation of dreamlike images, fictioning erased memories and shedding light on the cinematographic language itself.

SCENE 09 - internal day - marble factory
Lots of dust, marble texture, and noisy machines. A drop of blood hitchhikes on the neighbor's car, and in a hurry, both neighbor and drop spin tires on the curves. Upon reaching the factory, the drop rushes to ring the bell, then the neighbor asks to call the accounting lady, that's the drop's desire, but as it doesn't speak, it was up to him to make the announcement. Still trembling, the man hands the drop to the accountant.
"She says she was married to the victim, that she was at work when the owner of the banana storage came to inform the deponent that her husband had been robbed, and said nothing more."

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Nonada ZN • 09/09/23 to 10/28/23

Thiago Costa is a multimedia artist interested in the fabulation and speculation of form concerning invention, historiography, and language construction. In his poetics, he stitches together languages and investigates sensory processes through the coding of images produced in his works and observed during his travels. Baía da Traição, a territory in Rio Grande do Norte […]

Thiago Costa is a multimedia artist interested in the fabulation and speculation of form concerning invention, historiography, and language construction. In his poetics, he stitches together languages and investigates sensory processes through the coding of images produced in his works and observed during his travels.

Baía da Traição, a territory in Rio Grande do Norte marked by numerous colonial conflicts, was the first beach I knew. As a child, I would look at those large houses by the beach and not understand why we didn't spend our vacations there. Today, with the advance of civil constructions, all those grand houses have been abandoned, left in pieces through landfills and their invasive relationships with the sea and marine life. This process is happening in various coastal areas in our territories, driven by anthropocentric practices and environmental disregard, leading to the condemnation of properties through gentrification and other urban interventions.

In an exercise of speculative revenge, I capture internal parts of these houses from the perspective of the internal horizon of these old residences, allowing us to immerse ourselves in the video installation, inhabiting the ruin. A monument of memory to all cities buried by the failure of progress.

Thiago Costa has been awarded at the Museu é Mundo Prize (2023), Rumos Itaú Prize (2020), Delmiro Gouveia Prize - Joaquim Nabuco Foundation, and Negras Narrativas Prize - Amazon Prime. He held the solo exhibition "Banzo" at the Murillo La Greca Museum with curatorship by Ariana Nuala in Recife - PE (2019). He participated in group exhibitions such as "Um oceano para lavar as mãos" curated by Marcelo Campos and Filipe Graciano - Sesc Quitandinha - Petrópolis, RJ - (2023), "Dos Brasis" with curators Igor Simões, Marcelo Campos, and Lorraine Mendes - Sesc Belenzinho São Paulo, SP (2023), "Direito a forma" curated by Igor Simões and Deri Andrade at Inhotim, Brumadinho - MG (2023), 74 Salão de Abril curated by Jonas Van, Galciani Neves, and Victor Perlingeiro, Fortaleza, CE (2023). He also participated in "Carolina Maria de Jesus, um brasil para brasileiros" curated by Hélio Menezes and Raquel Barreto at Instituto Moreira Salles (IMS) – São Paulo, SP (2019), "Raio a Raio" organized by Solar dos Abacaxis at the Museum of Modern Art (MAM) with curatorship by Ariana Nuala - Rio de Janeiro, RJ (2022), and the 16th Municipal Salon of Plastic Arts (SAMAP) - Casarão 34. Thiago Costa has published the book "Obé - Poesias y Orikis" and texts in various anthologies and magazines.

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Nonada ZN • 09/09/2023 to 10/28/2023

Allan Weber is an interdisciplinary and multimedia artist, represented by Galatea, who also manages the Galeria 5 Bocas, a project that promotes access to art and culture in the community where he lives, 5 Bocas, in the North Zone of Rio. The artist has an established body of work in the field of photography, having […]

Allan Weber is an interdisciplinary and multimedia artist, represented by Galatea, who also manages the Galeria 5 Bocas, a project that promotes access to art and culture in the community where he lives, 5 Bocas, in the North Zone of Rio.

The artist has an established body of work in the field of photography, having even been published in ZUM, an important magazine on art and photography from the Instituto Moreira Salles.

His production in photography, installation, collage, and assemblage was presented for the first time together at the Galatea booth at ArtRio 2022, in a major solo project.
And now, in a partnership between Galatea and Nonada, Allan Weber will be the next artist to occupy the Galpão, a space in the Factory where Nonada ZN is located, exclusively dedicated to works and projects that engage with the structure and history of the location.

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Nonada ZN • 09/09/2023 to 10/28/2023

MUSEUL*RA, a duo formed by Link Museu and Rodrigo Andrade, is the result of the encounter of two artists with contrasting trajectories but who share a production marked by almost obsessive constancy in their research. The encounter took place in the context of actions promoted by Ali:leste, an artists’ collective that has been active in […]

MUSEUL*RA, a duo formed by Link Museu and Rodrigo Andrade, is the result of the encounter of two artists with contrasting trajectories but who share a production marked by almost obsessive constancy in their research.

The encounter took place in the context of actions promoted by Ali:leste, an artists' collective that has been active in Cidade Tiradentes since 2019. In one of these activities, Rodrigo and Link began painting the walls of the region. The duo was born at that moment, and only some time later did they dedicate themselves to painting in the studio.

The materiality of paint and references to the history of painting have permeated Rodrigo Andrade's work since the 1980s. On the other hand, Link Museu, an urban artist and poet, has been affixing the emblem MUSEU (created in 1989) to walls of buildings throughout the city of São Paulo for 20 years. Link Museu participated in Nonada's inaugural exhibition, "A palavra: verso," in November 2022.

MUSEUL*RA emerges from two extensive repertoires connected to paint to give birth to a new experiment — artistic, political, affective, and cultural. A dialogue that celebrates painting and documents its creation.

The duo exhibited the result of their partnership for the first time in 2021 at the Millan gallery in São Paulo and in some group exhibitions such as Olhão in 2022, and currently in the auction exhibition in support of Ali:Leste at @auroras.art.br.

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Nonada ZN • 09/09/2023 to 10/28/2023

“With the incandescence of the Rio de Janeiro suburbs, NOIX and Nonada Penha seek to summon artists whose research is not always observed by the mainstream circuit when it comes to a peripheral perspective, directing attention to geometry, fluidity, and hybridism, further warming the art scene. The viewer’s desire, here, is not just contemplated but, […]

"With the incandescence of the Rio de Janeiro suburbs, NOIX and Nonada Penha seek to summon artists whose research is not always observed by the mainstream circuit when it comes to a peripheral perspective, directing attention to geometry, fluidity, and hybridism, further warming the art scene. The viewer's desire, here, is not just contemplated but, rather, surpassed. The serial expectation of seeing images idealized by social hegemony is being burned here, and the effects are dazzling.

The artists in the exhibition defy such expectations. The works, pre-conceived as poetic expressions of black, suburban, or favela identities - or the result of this equation - do not allow the colonizing agenda to guide the fire of their productions. Thus, among other things, this serves to set fire to the big house, melt bridges between places, nurture faith and affection, illuminate paths, and cauterize thought."

Curatorship and conception: Melissa Alves, NOIX Team, Omep, Renan Andrade
Production: NOIX Team
Realization: NOIX + NONADA
Exhibition Design: Ariane Pereira, Larissa Monteiro, Lis Fernanda
Design: Felipe Nunes
Support: North Zone Subprefecture

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Nonada SP • 03/27/2023 to 04/02/2023

‘Nonada is not here’ is a project that follows the gallery’s commitment to actively participate in the Brazilian cultural market but seeks new forms of engagement. During the week of Brazil’s main art fair, we understood that as a gallery originally from Rio de Janeiro, and very young but with a DNA that embraces the […]

'Nonada is not here' is a project that follows the gallery's commitment to actively participate in the Brazilian cultural market but seeks new forms of engagement. During the week of Brazil's main art fair, we understood that as a gallery originally from Rio de Janeiro, and very young but with a DNA that embraces the concept of 'non-place' for its existence and relevance, presenting a project parallel to SP-Arte would be the best way to reach the country's largest city.

For 10 days, Nonada occupied the ground floor of the Maria Magdalena Building, an architectural landmark in downtown São Paulo that has recently been restored.

A curatorial project was presented on the importance of matter as the primary axis in the creative process of these young artists who, in some way, embody the essence of Nonada's research."

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