Artist: Rivane Neuenschwander
Venue: Tanya Bonakdar, New York
Exhibition Title: Tropics: Damned, Orgasmic and Devoted
Date: September 10 – October 24, 2020
Full gallery of photographs, press launch and hyperlink accessible after the soar.
Images courtesy of the artist and Tanya Bonakdar Gallery, New York / Los Angeles. Photos by Pierre Le Hors.
Tanya Bonakdar Gallery is happy to announce Tropics: Damned, Orgasmic and Devoted, a solo exhibition of latest work by Rivane Neuenschwander in New York, September 10 – October 24, 2020.
Featuring tapestries, work, and drawings, in addition to an set up of discovered and modified postcards, the presentation explores themes of worry, sexuality, politics and violence. Drawing upon myriad cultural references, Neuenschwander delves into the private and non-private vulnerabilities which have led to a deleterious surge in nationalism and polarization across the globe.
The title of the exhibition, impressed by poet Hilda Hilst’s Poemas Malditos, Gozosos e Devotos (1984), exactly displays the present sociopolitical context in Neuenschwander’s native Brazil, however might simply apply to most post-colonial cultures around the globe: a tropical setting damned all through historical past as a colony of exterior energy; orgasmic, because the function of unique fantasy is projected upon its folks; and devoted, all through historical past, to doubtful organized faith and religion actions. This title straight corresponds to a brand new sequence of large-scale tapestries and work which are based mostly on the aesthetic of seventeenth century Japanese erotic wooden cuts and impressed by Cordel people literature standard within the Brazilian Northeast area. Scenes of violence are depicted in vivid colours and delicate curving varieties. Human our bodies and anthropomorphic creatures intertwine in a brutal tug and pull, the place phalluses, vulvas, and different bodily options are wrestling in muddy puddles of blood. For Neuenschwander, worry is prime to mapping the myriad of the way wherein authoritarian governments come to energy, and the necropolitics they make use of as a way to keep it. Investigating how feelings may be weaponized as instruments of management and contamination, Tropics: Damned, Orgasmic and Devoted unveils the mechanism used to perpetuate political dominance. The tapestries’ magnificence and their skillful craftsmanship emphasize the paradox of attraction and repulsion, of aesthetics and violence.
Since 2013, Neuenschwander has developed a broad analysis on youngsters’s fears by way of tasks held in London, Rio de Janeiro, Bogotá, amongst different cities. Her curiosity within the theme is anchored in a long-term follow of psychoanalysis, however results in additional consideration of worry as an affectation to be manipulated within the political area. Constituencies are infantilized, as reality and actuality are handled as subjective by authoritarian regimes. À espreita is a brand new sequence of black and white works on paper that mirror an evolution of the artist’s exploration of childhood fears and anxieties. Simple drawings by youngsters had been abstracted and transformed by the artist into silhouettes, projected as outsized varieties in beforehand exhibited installations. Transformed as soon as once more into extra intimately framed works on paper, these shadowy varieties have been inverted as white figures onto a black floor, showing as ghosts or spirits. “À espreita” is a time period in Portuguese which suggests to be “on the lookout”, or “watching”, particularly within the sense of the hunter or hunted. At a second of common rigidity and nervousness, these drawings characterize our shared state of being, confronting an invisible enemy, as each predator and prey.
In the rear gallery, the work Fear of formally weaves collectively the drawings, work and tapestries, embodying the common fears of immediately’s society, and subsequently, its vulnerabilities. Hand written textual content and scrawled photographs are reproduced in embroidery and paint, studying: Fear of virus, Fear of disappointment, Fear of conflict, Fear of starvation, Fear of the tip of the world.
Finally, a big set up of classic postcards and textual content, The Order and Method, is predicated on Jean-Luc Godard’s Les Carabiniers from 1963. The story follows the journey of two peasants who’re recruited to conflict, misled by the promise they are going to be rewarded with the world’s wealth. In the movie’s climactic last scene, a sequence of postcards function the peasants’ prized possessions, and are displayed as false triumphs. The set up creates a exact visible correspondence to the narrative, as Neuenschwander has fastidiously chosen postcards representing every picture, together with textual content that juxtaposes the mundane with the horrors of conflict. Overlaid in screen-print are two quotes from the movie, “What do soldiers do before battle?” and “Before battle, soldiers are afraid.” Contextualizing the psychological part of worry, this work completes the emotional spectrum introduced by the opposite works on view and raises our consciousness to the total gamut on which feelings can function and affect our society.
Rivane Neuenschwander is among the many most critically famend artists of her technology, dwelling and dealing in São Paulo, Brazil. Her main set up O Trabalho dos Dias (Work of Days), 1998, was lately featured as a part of Surrounds: 11 installations, in the reopening exhibition at The Museum of Modern Art, final 12 months.
Winner of the Yanghyun Prize in South Korea in 2013 and shortlisted for the Guggenheim Museum’s Hugo Boss Prize in 2004, the artist has exhibited her work internationally all through the previous twenty years. In 2010, the New Museum in New York introduced Rivane Neuenschwander: A Day Like Any Other, a serious survey exhibition that traveled to the Mildred Lane Kemper Art Museum in St. Louis, adopted by the Scottsdale Museum of Contemporary Art in Arizona, Miami Art Museum, and the Irish Museum of Modern Art in Dublin by way of 2012.
Other necessary solo shows embody reveals at Museu de Arte Moderna de São Paulo (MAM-SP) in Brazil (2014), Malmö Konsthall in Sweden (2010), St. Louis Art Museum in Missouri (2007), Carnegie Museum of Art in Pittsburgh (2007), Hirshhorn Museum and Sculpture Garden in Washington, DC (2007), Palais de Tokyo in Paris (2003), the Walker Arts Center in Minneapolis (2002) and Portikus in Frankfurt (2001).
The artist’s work was additionally featured within the fifty fifth Carnegie International at the Carnegie Museum of Art in Pittsburgh, together with group reveals at Museum of Modern Art in New York, The Solomon R. Guggenheim Museum in New York, Museum of Contemporary Art, Chicago, Kunsthalle Wein in Austria, Stedelijk Museum in The Netherlands, and Moderna Museet in Stockholm.
Currently Neuenschwander’s work may be discovered within the collections of the Museum of Modern Art in New York, Tate Modern, Solomon R. Guggenheim Museum, Inhotim Centro de Arte Contemporânea in Brazil, Museum Boijmans Van Beuningen in Rotterdam, The Israel Museum, Museum of Modern Art in São Paulo, Seattle Art Museum, and the Walker Art Center, amongst others.