A Luis Maluf Galeria apresenta “A PRIMEIRA DÉCADA”, exposição que marca os dez anos de trajetória de Élle de Bernardini, uma das artistas mais provocativas e essenciais da arte contemporânea brasileira.

Com curadoria de Ana Carolina Ralston, a mostra percorre diferentes fases de sua produção, reunindo obras que expandem os limites da pintura, escultura e instalação. O conceito contrassexual, central em sua pesquisa, atravessa as composições têxteis, as esculturas em materiais sintéticos e as performances registradas em vídeo.

Entre os destaques, a obra “Monalisa” ocupa o papel de peça-chave da exposição, sintetizando a força simbólica da produção de Élle. A seleção equilibra trabalhos icônicos e inéditos, construindo um panorama preciso de sua investigação sobre corpo, identidade e estética.

Com uma presença consolidada em coleções institucionais e privadas, Élle de Bernardini reafirma, nesta exposição, a potência e o valor de uma obra que desafia categorias e amplia discursos.

ZonaMACO 2025

Booth A108

 

Luis Maluf Galeria returns to ZonaMACO with a selection highlighting contemporary Latin American production, bringing together works by Aline Moreno, Bu’ú Kennedy and Daniela Busarello. Between painting and marquetry, the artists explore identity, territory and the interconnection between nature and culture.

Aline Moreno investigates the landscape as a translation of experience, combining materials such as wood, paper and stone to create compositions that move between the organic and the geometric. Bu’ú Kennedy, a Ye’pamahsã (Tukano) artist, gives new meaning to marquetry, transforming sheets of wood into visual narratives that echo ancestral knowledge. Daniela Busarello, in her metaphysical and abstract approach, incorporates natural pigments, oil and beeswax, materializing the fusion between art and ecology.

Visit us at ZonaMACO 2025, from February 5 to 9, at Centro Citibanamex, Mexico City. Booth A108.

 

Natureza da Realidade

[Nature of Reality]

Tatiane Freitas

 

Everything is movement. Us, above all. This is the premise that permeates Tatiane Freitas’ new series, shown for the first time in the exhibition Natureza da realidade at the Luis Maluf gallery. In her works, movement is not limited to the idea of transformation or progress; it embraces the continuous restlessness that runs through the artist and is reflected in her practice.

Tatiane Freitas is not only a creator, but also a spectator of what she produces, in a relationship in which the gaze, which is on the side of the work, as Lacan demarcates, constantly questions the artist. Thus, even when her work is considered finished, it doesn’t end. They reverberate, generate questions and open up avenues for other formulations.

This relationship with the gaze that emanates from the work resonates with the artist’s reflections, recorded in notes. Describing her experience in these series as an act of “getting out of fitting in”, she abandons the comfort of what is most familiar to her, launching herself into new territories. In an intimate reflection, also recorded in her notes, she mentions the idea of “losing one’s home” – echoing Freud, who points out the fragility of the “I” that is no longer “master of its own home”. This unveiling of identity vertigo permeates the works presented, inviting the public to share in the same atmosphere, as the identity of the materiality of the works is also subverted.

An offshoot of previous works and concerns, the works on display here have the same origin: chance. Continuing his research, centered on the construction of objects from the ruin of so many others, referring to everyday life and the home, new interlocutions are opening up. Old wooden doors, now mirrored in drawings, suddenly provided the first exploratory images for these new series, in a contingency that captured Tatiane. In this way, shapes emerged that were reminiscent of the old klecksographs, the art of creating images from stains, also popularized in the 19th century as a children’s game and later taken up by the famous Rorschach test.

But if these doors were at the origin of the works that make up this exhibition, their forms have only left their traces, new ruins produced by another time, that of the artist’s creation. They now remain as powerful openings, giving rise to something new, the work itself, and the different possibilities of readings and interactions with its viewers.

And in this same passage, the same opening, a dialog with nature is established. Different states of representation of wood appear in these series, in a parallelism with different states of being and reality.

Shapes take their place on natural fiber weft supports that are colored in India ink and charcoal; pieces of charcoal find their way into sculptures; an installation of small pieces of tracing paper houses acrylic paintings that have arisen accidentally from drops of paint and folds; images of furniture, parquet floors and trees, different times of the same materiality, emerge from the void dug in the structure of checkered wefts.

Being looked at by a work is something that we can share, that unites us in a collective, but that doesn’t make us all: we are one by one. It is in this way that the works to which we relate, in the here and now of this exhibition, cast us a gaze that crosses each one in a particular way, making each subject’s experience of the work unique.

Finally, a question that, although not new, never ceases to insist and find its resonance in Natureza da realidade: how does the artist manage, from her unique experience with language, to convey to us something of a reality that doesn’t close itself off, something so much her own, but which becomes so much ours and everyone’s, making us this collective that perhaps only art is capable of making exist?

Flavia Corpas

curator

 

 

 

Untitled Art, Miami Beach 2024

Luis Maluf Galeria de Arte is pleased to announce its participation in Untitled Art Miami Beach 2024, which takes place from 4 to 8 December. For this edition of the fair, Luis Maluf is presenting the work of two contemporary artists, whose practices explore the relationship between art, spirituality and the natural world in different ways.

Shizue Sakamoto, a Japanese-Brazilian artist, fuses painting and the study of music, creating gradients of colour with a precision that recalls the fluidity of a musical composition. Her research is immersed in the search for tonal harmony, and in her works, the transitions between colours happen almost imperceptibly, without noise. This fluidity not only reflects an aesthetic quest, but also a reflection on the silence that permeates music, particularly the violin, an instrument close to his heart. Silence, in this context, is not the absence of sound, but an essential presence that allows the viewer to pass through a portal – as if the canvas were the entrance to a silent but profound sensory experience. The Belgian oil paint used by Sakamoto amplifies this transition, allowing the colours to blend with softness and elegance, inviting the viewer into a sense of serenity and balance, where contemplation becomes an intimate and sensory experience.

In her practice, Dutch artist Janet Vollebregt explores the relationship between architecture and Brazilian crystals, creating a reflection on how the form and energy of these elements can promote well-being. Her research proposes that the connection between the materiality of architecture and the energy of crystals not only reflects an aesthetic, but establishes a sensory experience that favours balance between body, mind and environment. By creating these experiences, Vollebregt opens up a field for introspection, where space is not limited to its physical form, but becomes a means for the transcendence of body and mind.

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Untitled Art Miami Beach 2024
Booth: C35
Date: 4 to 8 December 2024
Address: 1001 Ocean Drive, Miami Beach, FL

CRANIO

curated by Alexandre Araujo Bispo

Luis Maluf Gallery in Jardins is proud to announce the next solo exhibition by renowned artist Cranio, curated by Alexandre Araujo Bispo. Recognised for his urban art that combines vibrant social criticism with a unique visual poetics, Cranio translates the complex relationships between identity, the environment and urbanity in his works.

The general opening for visitors takes place on 12 December, from 2pm to 7pm, and the exhibition will run until 15 January 2025.

 

10 Years – Luis Maluf Art Gallery

 

Aline Bispo Aline Moreno Antonio Bokel Barbara Basseto Bu’ú Kennedy Cranio Daniela Busarello Deco Adjiman Desirée Feldmann Edu Silva Janet Vollebregt Karola Braga Leandra Espírito Santo Licida Vidal Raphael Sagarra_finok Shizue Sakamoto Tatiane Freitas Vhils    Zanini de Zanine

‘To dream is to wake up inward,’ said the poet Mario Quintana. And it was with this inner awakening that Luis followed his instinct 10 years ago and opened the first unit of his eponymous gallery in São Paulo, a space whose purpose from the outset was to encourage and foster contemporary art. But the story we are celebrating today began years earlier and deserves to be remembered on this date.

When he was younger, Luis lived in a mixed-use building that housed residential flats as well as artists’ studios, where countless creative meetings took place. It was in this vivid environment that he found comfort, imbued with the smell of paint and the many conversations about the cultural milieu. There, the dream of being an artist was born, which soon sharpened the business acumen he discovered as a gift. He experimented in a few related areas until he decided to become an entrepreneur. So the middle-class young man bought a kombi with a colleague and started selling works by artists he liked on the streets of São Paulo.

 

From then on, his bond with the arts blossomed, took many directions and formats and was consolidated through a deep relationship with the city. Public art brought Luis closer to architecture, public space and a possible project for society. It made him interested in everything that surrounds it, from concrete to nature, from noise to subversion. It led him to look at works and artists without preconceptions, seeking out the diversity of languages, genres and forms, as well as discussions and reflections on the role of the market in this vast network of interconnections.

She invested time and resources in opening a new gallery in the Barra Funda neighbourhood, balancing the commercial and conceptual sides and even putting more emphasis on national production and on innovative and necessary projects, such as the Artist Residency, now in its fourth edition, expanding the possibilities of artistic practice and the education and training of visual artists around the country.

 

On this path, his attentive gaze met that of many artists whose lines of research include the idea of territory, be it celestial or earthly. Through art, they develop works that discuss these universes and their relationship with the world. This rich and plural process has made this trajectory, and consequently this celebration, possible. For this date, artists represented today by Luis Maluf Galeria de Arte have developed new works, all interconnected with the founder’s trajectory, but also that speak to the spatiality of the region where we are located. Thus, the group show presented at the Barra Funda unit is a reflection and an invitation to think about this vast creative and multidisciplinary universe that surrounds us internally and externally.

 

— Ana Carolina Ralston