Secondary Stories by Brazilian Artist Rivane Neuenschwander
April 30, 2016 – July 29, 2017
The Linda Pace Foundation presents the Texas debut of Secondary Stories, a room-sized installation by Brazilian artist Rivane Neuenschwander. The artist has become widely regarded for her often ephemeral work that explores narratives about language, nature, social interactions and the passing of time. Showcasing Secondary Stories as well as three video installation works, the exhibition is open at SPACE, the public gallery of the Linda Pace Foundation, on April 30, 2016 and will remain on view through July 29, 2017. Linda Pace Foundation trustee Kathryn Kanjo states, “The Linda Pace Foundation is delighted to present this hypnotic installation by Rivane Neuenschwander. In Secondary Stories, she seems to take viewers through the looking glass: the outsized confetti makes us feel small and we become lost in the slowly shifting play of light and color. Since her Artpace residency in 2001, Rivane has achieved great acclaim, with major exhibitions at the New Museum 2010 and mal-entendidos at the Museu de Arte Moderna de Sao Paulo in 2014, which included a version of Omission Points, created at Artpace.”
In the central installation, Secondary Stories, a constellation of brightly colored circles is visible through a translucent ceiling. Hidden fans gently move the confetti-like shapes across the scrim surface, creating a dynamic abstraction. Occasionally, the colored forms slip through perforations in the ceiling and flutter to the ground. The fallen dots mirror the pattern above and are further shifted by the incidental movements of the visitors to the gallery. The circular, overlapping forms evoke mathematics and op-painting, even as they recall the look of celebratory confetti, a material the Brazilian artist has used in other works. Neuenschwander notes how confetti, “has a direct association with carnival.” In Quarta-Feira de Cinzas/Epilogue (2006), also on view, the artist tries to “capture the mood of the end of the festival, where there is a certain madness and excess. This is where my memory of childhood comes from” (Art World Magazine, April/May 2009). The work, made in collaboration with Cao Guimarães, presents armies of black ants carrying colorful pieces of confetti, implementing their own narrative of creation, composition and production.
Neuenschwander frequently turns to photography and film to capture and preserve the fugitive. In Inventory of Small Deaths (Blow) (2000), also made in collaboration with Cao Guimarães. The video, shot at Guimarães’ family farm in Belo Horizonte, shows a looped black and white film, which was edited so that a large, dramatically amorphous soap bubble appears to float across different landscapes without ever bursting. At turns, glassily reflective and all but invisible against the clouds, the bubble – like so many of Neuenschwander’s works – is sensuously bodily while remaining poised, a pinprick away from disappearance. The climax of the bubble’s “death” is eternally postponed: the fleeting is granted permanence.
Transformation and fluidity are an underlying theme of the exhibition’s third video work, which the artist produced in collaboration with her brother Sergio Neuenschwander. In Love Lettering (2002), goldfish swim back and forth in bright blue water. Attached to their tails are tiny banners bearing isolated words that express love, loss and longing. The words begin to form syntactic elements and reveal possible fragments of a love letter.
About Rivane Neuenschwander
Born in 1967 in Brazil, where she continues to live and work, Rivane Neuenschwander is informed by the Neoconcrete movement of the 1970s. Her work offers concrete manifestations and discrete objects to be observed, considered, analyzed and understood for significance beyond the verbal. She received a BFA from the Federal University of Minas Gerais, Brazil in 1993 and completed her MFA at the Royal College of Art in London. 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 throughout the past twenty years.
Opening Weekend Events
Opening Reception: Friday, April 29, 2016; 6-8pm
ADAM by Arturo Herrera from LindaPaceFoundation on Vimeo.
Arturo Herrera: ADAM
Currently On View
On view at the corner of N. Main and E. Commerce St., San Antonio, TX
A dynamic new artistic addition to the heart of the city, easily visible from Main Plaza, installed in the winter of 2013. Adam, is a 2,500 square-foot red-and-white abstract wall painting by internationally acclaimed Venezuelan-born artist Arturo Herrera, is sure to draw the attention of residents and visitors alike adding color, vibrancy and great artistic value to the city’s cultural and spiritual center. The dramatic wall painting, more than 25-feet high and 98-feet wide, is the first large scale public installation of the Linda Pace Foundation. Adam embraces and fulfills the Linda Pace Foundation’s mission for the community to experience contemporary art in nontraditional settings.
“The inspiration for the wall painting Adam was about movement, the dynamism of abstraction, and a soaring energetic field, like Spring, when everything awakens,” Herrera said. “The title Adam brings several images to mind: An earthbound beginning; the first individual Pace Foundation’s First Public Art Installation 1 | Page human; humankind. It is a powerful and yet open-ended title that can convey multiple readings to the audience. The color red that I chose for Adam was intentional as red is the color associated with heat, power, physical energy and celebration. Coincidently, red was Linda Pace‘s favorite color, both for its physical and spiritual qualities.”