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"DOUBLE CROSSING" Exhibition by Gustavo Von Ha


From: Feb 24th(Thu.) to Mar 15th(Tue.), 2011
11:00 - 19:00 (Closed on Mondays)

Place: Feb 24th to Mar 1st: Promo-Arte 2F All Floor
Mar 2nd to 15th: Promo-Arte 2F Project Gallery
Organized by: PROMO-ARTE Gallery
Supported by: Embaixada do Blasil em toLquio

 

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Exhibition Hall

Exhibition Hall


"Magic mirror series Double Crossing with Leonilson (Two friends)"



"Magic mirror series Double Crossing with Leonilson (Two friends)"


"Double Clossing with old paper Tarsila"



"Double Clossing with old paper Leo"


"Double Clossing with old paper Tarsila"



"Double Clossing with old paper Tarsila"

"Double Clossing with old paper Leo"


"Magic mirror series Double Crossing with Leonilson (Two friends)"


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About an artist



Gustavo von Ha

Born 1977 in Presidente Prudente, Brazil. Currently lives and works in Sao Paulo, Brazil.

Solo Exhibitions
2008 THE MAGIC MIRROR, Galeria Eduardo H Fernandes, Sao Paulo/ IMAGES RELFLELCHIES, SycomoreArt, Paris/ Installation, ANEXO, Galeria Laura Marsiaj, Rio de Janeiro/ PRIVATE ADDICTION, Firehouse Plaza Art Gallery - Nassau Community College, New York.
2007 - Installation, Project Room at V TERRITOLRIO DA ARTE, Araraquara
2007 - 2006 - DAILY MIRROR (S), Centro Cultural Parque das RuiLnas, Rio de Janeiro / ONCE UPON A TIME, Central Park, New York.
2004 - HAPPINESS, NEEDINESS; DESIRE, Galeria Lycra(R), Sao Paulo / BOTTLES AND LETTERS, The Gallery 54, London.
2003 - DAMEROGRAMA, El Pacha Project, Ibiza.

Group Exhibitions
1010-2009 10TH LATIN AMERICAN CONTEMPORARY ART "TODAY"W, Promo-Arte Gallery Tokyo. SP-ARTE, Galeria Eduardo H Fernandes, Pavilhao Bienal, SP.
2008 - LLEXPOSITION COLLECTIVE DES ARTISTES DE LA GALERIE SYCOMORE, Sycomore Art Galerie, Paris.
2007 - NIGHT OF 1.000 DRAWINGS, ArtistLs Space, New York/ CONTEMPORAINS, Sycomore Art, Paris.
2006 - ACERVO 2006, Thiergeville, Normandia / TRANSPARENCIES, Eduardo H. Fernandes Gallery, Sao Paulo / GROUP SHOW, Eduardo H. Fernandes Gallery, Sao Paulo / SP-ARTE, Galeria Mercedes Viegas, Sao Paulo / MAPA CULTURAL PAULISTA, Sao Paulo.
2005 - LATIN AMERICAN ART TODAY, Promo-Arte Gallery, Tokyo / SPARK VIDEO CANADA INTERNATIONAL, Forest City Gallery, London.
2004 - CONNECTIONS, Centro Cultural Paschoal Carlos Magno, NiteroLi / RECONCAVO"S BIENNIAL, Centro Cultural Dannemann, Sao FeLlix / GROUP SHOW, MuBE, Sao Paulo.
2003 - CANON DIGITAL CREATORS CONTEST 2003, New York.
2002 - NYC SOHO INTERNATIONAL ART COMPETITION, New York /
2000 - MAPA CULTURAL PAULISTA [Cultural Panorama], Sao Paulo.
1999 - Official Visual Arts and Design Exhibition BRASIL 500 YEARS OF ART, Sao Paulo.
1998 - MAPA CULTURAL PAULISTA [Cultural Panorama], Sao Paulo.
1985 - 3rd Kanagawa World Biennial, Tokyo.
1983 - 8th Painting Contest, Tokyo.

Education
2010 PIESP (Independent Program of Escola Sao Paulo).
2008 Viewing Program visiting The Drawing Center, NY.
2007 Work Review The Drawing Center, NY.
2006 - Holography, HOLOGRAPHIC STUDIOS, New York.
2005 - Image Researching, Santa Marcelina University, Sao Paulo.
2004 - Production and Edition - Digital Video, DV NEW YORK, New York.
1998-2001 - Communications, UNIVERSITY OF OESTE PAULISTA, Presidente Prudente, SP.

 



Double Crossing, or the line through the mirror, or how to reveal the crossing.

In Double Crossing, Gustavo Von Ha presents two series of artworks whose point in common is the investigation of the process or act of crossing. This inquiry takes place through a procedure of crossfading, used to consider the relation with the process for producing the image: the image/mirror that produces a sort of fusion between the gtwo sides.h In this proposal, when the instrument used to begin the process is withdrawn, the fusion disappears, and we can therefore consider how the strategy allows the artist to materialize, on the surface of the paper, the image that is born from that first instance that is offered for the production of this latter one, which now becomes part of the world. A birth, or better, a rebirth of the image that originally exists in time and space, but in this new proposed interplay presents itself to the eye with a new body, with a subversion of its starting point.

The artistfs choice of universal references | in the set featured in this show, constituted by Tarsila do Amaral and Leonilson | can be read in different ways, whether those set forth by Gustavo Von Ha himself, or those that present themselves to our inquiring and investigative gaze: after all what are these gcopied drawingsh originally by artists so clearly identifiable by their production, by the distinctive characteristics of their images, by their insertion in the history of art, particularly Brazilian art? What gives rise to this process, which, after being apparently identified, points to explicit references such as the history of Brazilian art, investigations into drawing along with its potentials in contemporary art, as well as questions involved in the questioning procedures of contemporary production, such as rereading, copy, appropriation, inversion, mirrorings and other possible readings? And isnft it also possible to consider the artistfs explicit interest in other subjects such as memory, notions of beauty, or nonsense?

It is moreover necessary to return to the idea of the mirror, as a place in which the image does not exist | in a physical/material perspective | and vanishes. Historically, there are countless references to the mirror as a tool for research and the production of images, and throughout his years of work Von Ha has likewise made use of it in his investigations.

For the artist, the images he produces exist on their distinct supports; the first image, which gives origin to the second, as well as this latter one that arises through the work of the mirror, which is the place of the passage, of the crossing over, and not of existence, or permanence. While the image is completed and realized by way of the mirror, it is important to underscore that it also takes place through the mirrorfs intermediation. It is therefore necessary to make a clear distinction between the two terms, since the process presupposes this game of double meaning for them.

There is a further question that must be considered | even if not answered, at least not right here and now | and which should be borne in mind during the process of analyzing the works, whether in our reading of them, or in the very process of their elaboration. I am referring to the signature, or to a possible way of identifying the drawings. Why sign them? Or perhaps it is further necessary to ask how to sign them?

If these pictures were elaborated from preexisting ones, if assuming them individually as an image means fusing all their elements, including what there is in terms of a gsignatureh in the original, then how can this puzzle be solved without also crossing through the mirror, in the search for the authorfs identity? But this is a further question among Gustavo Von Hafs proposals, whose solution demands that we delve into the drawings, analyzing the aims and provocations that the artist is proposing, while also, perhaps, inviting us to cross through the mirror.

Marcos Moraes
Sao Paulo, December 2010
Professor, curator and director of the Fundacao Armando ALlvares Penteado | FAAP



A TALKING

Curator: About your older works, they are very elegant. The beautiful object seems to be an aspect of your work. Is the beauty of the object, on an aesthetic level, your inttention?

Gustavo von Ha: Yes, my older works were quite beautiful on an aesthetic level. This is not a problem to me. The "aspect" or "the way it seems to be" are important to me. I have been doing kind of copies on the last four years. The mirror subject is fatally an appropriation of the real world. For this exhibition, I am interested in making a work that has more aura than its reference (see Tarsilas appropriations in old paper). For me the tension between the reference and the new work doesn't really exist unless the new work has an auratic presence of its own. Otherwise, it just becomes a kind of copy, which is not so interesting. There is a twist when I do an authorized inverted copy.

Curator: "Aura" in the sense that Walter Benjamin has used this term (and paradoxically), he said that work loses its aura because of duplication... How do you think about this aura concept duplicating objects or even mirroring them through reflections? The mirror duplicates everything and your "authorized" copies make doubles as well...

Gustavo von Ha: What I am doing is duplicating objects and drawings in a way that they will have an aura, not the same one as the referent, but their own, there is an authory here, when I choose the images to do the apropriattions. In this way, I am turning Benjamin's theory in on itself. To create a conundrum.

Curator: The mirrors, like your anamorphosis drawings, are a generic type, rather than references to a particular work of art as your inverted "redrawings" are. As you say, the mirrors are a generic icon of opticals tools since renaissance. Tell me more about this...

Gustavo von Ha: Or object. They became objects when I do a curved mirror with assemblage. But they are artworks because I intend to do it. Several artists of the Art History, specially the painters, used optical tools to do the paintings, to make them better as perspective and light. Actually the Art History is one of my matters when I do drawings or either mirrors. They are part of the same process...

Curator: To talk more about elegance and beauty, your works are often referred to as "objects of desire". Some other contemporary artists, professes to give viewers desirable objects, objects people want. There are obvious relationships as well as differences between your work and those. How do you feel about others artists' works in relation to yours?

Gustavo von Ha: It is a difficult question, each artist has a matter or a question or something very particular. I can't compare my work... Actually, there are a lot of similarities with many contenporary artists. There is no way to escape from similarities in a global world guided by internet. If you want to know about my subject matter I will tell: is high art.

 
 
   


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