PENDULAR

Edu Silva e Mônica Ventura

A Luis Maluf Galeria, em parceria com a Galeria Nara Roesler, apresenta a exposição coletiva de Mônica Ventura e Edu Silva, sob curadoria de Aline Ambrósio, na unidade Jardins. A mostra propõe um diálogo entre as pesquisas de ambos os artistas, aproximando investigações que tensionam espaço, estrutura e memória.

Na obra de Mônica Ventura, a arquitetura se manifesta como suporte e vestígio, carregando camadas de transformação e identidade. Suas construções plásticas dialogam com materiais e técnicas artesanais, ativando referências afro-ameríndias e processos construtivos que sustentam modos de existência e transmissão de conhecimento. Sua produção já foi apresentada em espaços como Inhotim, Pinacoteca de São Paulo e Instituto Moreira Salles.

Edu Silva parte da relação entre cor e organização espacial para construir composições que refletem sobre estruturação social e território. Seu trabalho investiga a fragmentação e o equilíbrio entre elementos, criando articulações visuais que tensionam a lógica do espaço pictórico e tridimensional. Sua trajetória inclui exposições no Museu de Arte Moderna (MAM), Instituto Inhotim e Museu Afro Brasil.

A exposição articula esse encontro entre materialidades e concepções de espaço, abrindo leituras sobre construção simbólica e seus desdobramentos na arte contemporânea.

VIVAZ

Adjetivo

1. Caracterizado pela ação, dado à ação; ativo, enérgico.
2. Que vive ou pode viver muito tempo; vivedouro.

Acompanhar doze diferentes artistas por dois meses é estabelecer um encontro com as diversas possibilidades de vida que cada indivíduo apresenta como questão de pesquisa conceitual e prática.

Podemos falar sobre essas aproximações como envolvimentos de vidas, pois, nos espaços desta galeria, outrora ateliê, foram estabelecidos novos afetos, contatos, carinhos, conexões e, por consequência, novos arranjos de trabalho, cores e matéria.

Vivaz é o resultado primeiro e mais palpável dessa confluência. A arte é pretexto, meio pelo qual pessoas se conectam e se apresentam ao mundo. A pesquisa de cada uma das pessoas artistas aqui presentes se abre como um novo idioma, com vocabulário e gramática próprios, mas que permitem traduções e significados comuns.

Que o vigor dessa produção sensível reverbere para além dessa experiência.

— Lorraine Mendes

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[residentes]

Alexandre Heberte

Amorí

Ana Paula Sirino

Eduardo Baltazar

Erick Peres

Fernanda Pompermayer

Guilherme Borsatto

Hortência Eduarda

Naomi Shida

Rebeca Miguel

Sheyla Ayo

Xica

[coordenação]

Lorraine Mendes

[juri]

Dalton Paula

Luis Maluf

Maguy Etlin

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