This Saturday I was able to visit the exhibition at Casa Tato, the result of a training program involving artists and curators, a series of meetings that span this period of the pandemic.

I confess that I was overcome by feelings divided between the joy of visiting an art exhibition again and the fear for the whole scenario that surrounds us. The images were registered by me, with the exception of artist Cynthia Leitão, whose credit and thanks go to Galeria Tato.

These images can have some angle problems, but only when I got home and opened the files on the computer, I realized that they brought that load of life that more than ever we need to celebrate. For this reason, I apologize for the poor quality record, but I hope you can understand and share the emotion I felt when capturing them.

The impeccable selection of works by the artists Arlette Kalaigian, Corina Ishikura, Cris Basile, Cynthia Leitão, Heloisa Lodder, Jussara Marangoni, Kika Goldstein, Luciana Luchesi, Marcos Pereira de Almeida, Nil Sanchez, Rosa Grizzo, Rosana Pagura and Silvio Dworecki allows a job pleasurable exploratory tour through the spacious spaces of the occupied residence as a gallery for this presentation.

The painting is full in its diversity. Arlette Kalaigian’s canvases are expanded across the walls, in a dance of Eros, male and female symbols that meet and mismatch. In Corina Ishikura we witness her dedication to the use of colors, which create universes of delicate transparency, subverting the density of oil paint in a poetic operation for matter. Cris Basile brings paintings marked by intense organic forms, using ditto colors, but at the same time with a lightness given by the construction from the drawing, which guides her production. Cynthia Leitão offers us shapes that are built from color, in tones that, despite the sobriety in the ensemble, emit brightly spaced points, as if creating a path where our gaze can let itself go without fear. Kika Goldstein performs an audacious exercise when she puts her paintings almost like sheets of pigment to gently touch the walls, extrapolating the concept of creating universes and constellations on her canvases also by the way she presents them. Rosana Pagura assumes the figuration, in personal records, as a way to discuss the painting and its unfolding, contemplating landscapes and reframing them. In Silvio Dworecki we also found a reflection on painting, but here it is treated by the use of abstract forms in constructions marked by color.

The sculpture is striking in the work of Nil Sanchez, with their bodies that speak to us of the tradition of recording movement, but with a contemporary approach due to their fragmentation or how they are positioned. Also the three-dimensional in this aspect appears in the work of Luciana Luchesi, who also exhibits paintings, of a strong and vigorous expressionism. We highlight the sculptures presented, endowed with an aggressive yet attractive character.

Photography appears through Heloisa Lodder, in exquisite records that quote or discuss painting and sculpture through the image, while the content of their choices tells us about social exclusion and the degradation of public space by mistaken interests.

Two artists present works that clearly, from the notion of installation, build strong and vigorous poetics. Rosa Grizzo occupies the space of a room that would be a bedroom, and uses embroidery, weaving on fabrics that already have a history, a way of building a narrative about memory and the feminine, the relationship between generations, thinking of sensitivity as legacy. Jussara Marangoni starts from painting, from precious watercolors that register bricks and intertwine them with drawings and photographs of trees, discussing the relationship between built and natural space, the need to rethink our presence in the world.

The only work outside the house, the installation by Marcos Pereira de Almeida, with fragments of rubber tires, redesigns the plan that gives access to a small room, perhaps originally a garage. The path and its relief are reconstructed, even breaking the boundary between the internal and external, all united by the texture, smell and color of the rubber.

In this very delicate moment that we face, it is worth mentioning that we must continue taking care of ourselves and paying attention to the guidelines of the health authorities.

However, we need to be increasingly aware of the worrying crisis that is taking place in the field of learning, the construction of knowledge. Also a crisis in the field of the sensitive, of the attempts to brutalize and dehumanize the choices and possibilities that we have as a civilization.

In this sense, all the experience that has been built by the cultural sector, such as this Casa Tato project, deserves our appreciation and recognition. The tendency is that we may, in some way, in the coming months, resume more and more personal contact and socializing in cultural events and activities. Let’s do it carefully, with all protocols, but let’s do it. It is understandable that many choose to wait longer, and there is also no problem. The essential thing is that all actions genuinely guided by the need for art are welcome.

One day at a time, but all together, loving each other.

INFORMATION

CASA TATO

Guest Artists: Arlette Kalaigian, Corina Ishikura, Cris Basile, Cynthia Leitão, Heloisa Lodder, Jussara Marangoni, Kika Goldstein, Luciana Luchesi, Marcos Pereira de Almeida, Nil Sanchez, Rosa Grizzo, Rosana Pagura, Silvio Dworecki.

Guest Curators: Carla Chaim, Carollina Lauriano, Claudinei Roberto, Fabio Magalhães, Guilherme Teixeira, Julia Lima, Marcio Harum, Marcos Moraes, Nancy Betts, Nino Cais, Paola Fabres, Rafael Vogt Maia Rosa, Rejane Cintrão.

http://www.galeriatato.com