artists & participants

press release

Los Carpinteros | En el Jardín

Galeria Fortes Vilaça is pleased to present en el jardín (in the garden), an exhibition of new work by the Cuban duo Los Carpinteros. They are three sculptures and four drawings that join humor and sociopolitical criticism with the technical precision and inventiveness characteristic of these artists.

The Carpinteiros’ practice is oriented by a constant reinvention of the most varied objects and everyday situations. Forms and manners of common use are questioned, in a permanent investigation of the signification of things.

The exhibition’s three sculptures are swimming pools, constructed with the same materials as a real swimming pool. They have water, tiles, ladders, and even filters and lighting. Each one of them comments, by its particular form, on questions related to public and private spaces, to notions of comfort, consumption, and social organization.

In the sculpture Vecinos (Neighbors) two houses float in a amoeba-shaped pool, moving slowly. Llena (Full) is a pool surrounded by ladders that form an infinite combination of entrances and exits. Portaviones (Aircraft Carrier) is a transposition of an aircraft carrier into a swimming pool with diving boards. The drawings contain two other projected pools: Arena which has the form of an amphitheater, and Liquido rojo (Red Liquid), a pool in the form of a basin of red water.

The Carpinteros are participating this year in the Venice Biennial in the Latin American Institute and in the Prague Biennial. Recent exhibitions include the Contemporary Arts Museum, South Florida University, Tampa and the National Museum of Fine Arts, Havana. They have also participated in the XV São Paulo Biennial and the IV Mercosul Biennial.

Sara Ramo | Once and again there, even if here (from the series: Maps)

Galeria Fortes Vilaça brings to São Paulo the first solo exhibition of the artist Sara Ramo. Sara has Brazilian and Spanish citizenship, and grew up in both Brazil and Spain. Since 1998 she has lived in Brazil, in the city of Belo Horizonte. Ramo recently emerged as a revelation on the contemporary art circuit, with works in video, photography, and installation. In the words of the curator of the Pampulha Museum, Rodrigo Moura, “A good part of Sara Ramo’s work is constituted on the basis of a secret vocation for banal objects and their formal and conceptual possibilities in the field of art.”

In Fortes Vilaça, the public encounters a white wall that cuts the exhibition space in two parts, duplicating it. A staircase similar to the gallery’s is attached to the wall, in the opposite direction of the existing staircase, in a game of mirroring the space. The spectator who climbs this staircase can see, from above, what the artist calls a map. Different objects found in the city streets are organized by codes or associations invented by Ramo. They are wrappers from candy, popcorn, and cigarettes, pieces of brick and shards from walls, pieces of wood and broken toys. A map that does not represent a space, but makes evident a complex relation between the artist’s gaze and the landscape constructed from fragments, leftovers. A game of memory in which the spectator is invited to participate. The backside of the wall has exposed bricks and cement, a kind of revelation of what is behind things. The artist gives even more emphasis to this idea by positioning a mirror in the back wall, so that the objects can be seen frontally and from behind. In the end, the spectator is faced with philosophical questions about the relation between the real object and its representation, the visible and the invisible, exterior and interior.

Sara Ramo will have exhibitions later this year in the Centro Cultural São Paulo, and in the Paço das Artes in 2006. She has received a grant from the Pampulha Museum, where she recently created O Jardim das Coisas do Sótão (The Garden of Things in the Attic), her first large-scale installation conceived especially for that institution.


Los Carpinteros - En el Jardin


Sara Ramo | Once and again there, even if here