Casa 7 AT Pivô revisits the early production of five artists who, in the early eighties, were part of a group of painters called Casa 7: Carlito Carvalhosa, Fabio Miguez, Nuno Ramos, Paulo Monteiro and Rodrigo Andrade. Eduardo Ortega curates this exhibition with strict and perceivable intentions. Two works by each of the five artists are exhibited, one enamel on craft and one oil on canvas, all from 1984 and 1985, the last years when they worked in the same studio and also the period when they earned high appraisal, culminating in their participation in the 18th São Paulo Biennial.
The fact that each artist has his own wall in the show should not be taken lightly, as the exhibition display seems to emulate the dynamics of the former group. Each one of them had their assigned working wall in the house they shared as a studio from 1982 to 1985, the house that named the group: Casa 7 literally translates to House 7. Other than that, not mixing the works respects the fact that each one of the painters developed their own authorial research, despite the inevitable interferences that rose from their work environment—”contaminations” that are made evident not only by the shared choice of media, but also by similar languages and approaches to painting.
Photo: Eduardo Ortega/Courtesy of Pivô
With its broad windows, multileveled floors and wide rooms sustained by sparse columns, Pivô might be one of the most beautiful spaces for exhibiting contemporary art in São Paulo; yet such overwhelming architecture, as with the entirety of Oscar Niemeyer’s Copan Building in which it is located, can impose its challenges. In this case, however, the open spaces work to the advantage of the show, creating a sense of wholeness between the pieces, easing the viewer into the dialogue they establish. Plus, the choice of hanging walls, instead of the more common freestanding type, assured lightness to the group’s large dimensions and dense paintings, which are given room to breath without creating a sense of isolation.
The exhibition is completed by some documentation and a documentary film, which can be seen at Pivô TV Vimeo channel.
Through August 29 at Pivô, Avenida Ipiranga 200, loja 54, São Paulo.
Caroline Carrion (1986) is a São Paulo-based curator and art critic. She holds a degree in journalism from the University of Sao Paulo, where she is currently pursuing a second degree in philosophy, after having studied management et communications intercuturelles at Université Paris IV (Sorbonne). Caroline has been working in the art field since 2008 in different segments of the market, such as cultural centers, museums and art galleries. She has developed and coordinated the production of exhibitions, integrated publishing projects on contemporary art and has extensive experience with cultural journalism and institutional communication. In 2015, she curated “Eccoci!,” an urban-intervention project by artist Berna Reale held in public areas of scarce touristic access in Venice, during the opening and closing weeks of the 56th Venice Biennale; and was one of the emergent guest curators of the Prêmio CNI SESI SENAI Marcantonio Vilaça para as Artes Plásticas. She is the author of texts for exhibitions and artists books, presented in Brazil and abroad; and is a member of the PIPA prize 2016 Nominating Committee. She regularly writes for Newcity Brazil, and collaborates with the contemporary art platform My Art Guides. Contact: [email protected]
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