Comme de longs échos qui de loin se confondent*
A newspaper bundle is left besides the main entrance door; at the back doorstep, envelopes are spread. The newspapers and letters seem to announce a logic of space occupation moving from the outside in, but never the other way around: the works presented in Économie domestique, of Ana Luiza Dias Batista and João Loureiro, narrate the existence of a place where things come, creeping through the cracks, but nothing comes out. Flies align side by side against the glass wall that faces the street; a strange light bulb, that glows but does not light up, at the threshold of La Maudite, detects, like a sensor, the presence of something that was just there.
The works describe an interior, but one that is eminently empty, made from scraps, crumbs, things the size of a spider web. The large volumes having been taken away, or because of the persistent aversion to large sizes, the space between each work tends to get very evident. If they relate to each other, it's at a distance, in the form of a replication, and an acoustic replication before anything: the cracking sound of the breadcrumbs and the broken fingers is replicated by the buzzing of the flies; the dripping of the puddle by the shattering of the broken light bulb; the tack-tack of the web and the twiddling of the coin by the dry scraping of the envelopes on the floor and the massive deposition of the newspaper bundle.
Of course, those noises aren't there. But the conversation between the things that are the protagonists of that repeatedly emptied interiority is clearly acoustic: the newspapers respond to the letters; the puddle responds to the fallen light bulb; the flies respond to the web and the breadcrumbs, who respond to the finger; the ever-lit light bulb responds to the coin incessantly spinning and to the puddle that never evaporates... That does not mean those objects are animated; there seems to be no personification, fable, nor any prosopopoeia; each of these things appears possible in itself. In the ellipse of the causes of those objects, in their before and their after, their “matching” is amplified, like a reverberation of echoes whose volume is never lowered (resulting, certainly, of an indoor spatiality, reclaiming a familiarity, “domestic” thus, but waiving the human scale, or resisting being interrupted, explained, mediated by it).
Carlos Eduardo Riccioppo
Translation Port/Eng Julia Vidile
* Baudelaire, Correspondances.
Ana Luiza Dias Batista was born in São Paulo, Brazil, in 1978. In 2000 she graduated in fine arts at the University of São Paulo. Em 2001 she had solo shows at Centro Cultural São Paulo and Adriana Penteado Gallery, São Paulo. Next year, with artists Eurico Lopes and Rodrigo Matheus, she presented the Copan Plan, an independent project at Niemeyer’s building. She participated in the group shows 20 anos - 20 artistas, 2002, CCSP, São Paulo, To be political it has to look nice, 2003, Apexart, New York, and in the symposium São Paulo S.A., Situação n. 2, 2002. She had a solo show at Centro Universitário Maria Antônia, São Paulo, 2004, and took part in MAM [na] Oca, São Paulo, 2006. She got the Bolsa Pampulha and in 2007 presented a solo show at The Museum of Art of Pampulha, Belo Horizonte, Brazil. Next year she got a masters degree in visual arts at the University of São Paulo and presented Vistosa, an independent project with funds of Conexão Artes Visuais Prize, by the Brazilian Ministry of Culture, along with artists João Loureiro and Laura Andreato. In 2009 she was awarded a prize by the Secretary of Culture of the State of São Paulo and had the solo show Programa, at Estação Pinacoteca, São Paulo. In 2010 she enrolled at the doctorate program at the University of São Paulo. She had solo shows at Mendes Wood Gallery, São Paulo (2010 and 2011) and Ybakatu Gallery, Curitiba, Brazil (2010). She is currently taking part in the exhibition Conversation Pieces, at NBK, Berlin.
João Eduardo Loureiro, born in 1972, has Masters degree in Poéticas Visuais by the School of Comunications and Arts of the University of São Paulo – ECA/USP - in 2007 and Major in Artes Plásticas by Armando Álvares Penteado Foundation - FAAP - in 1995. Had solo exhibitions as “Pedra que repete”, at Casa da Imagem (São Paulo, 2013), “Fim da Primeira Parte”, at Galeria Vermelho (São Paulo, 2011), Solo Project at VOLTA 6 (Basel, 2010), “Blue Jeans”, on Projeto Octógono de Arte Contemporânea of the Pinacoteca do Estado (São Paulo, 2009), “Reaparição”, at Paço Imperial (Rio de Janeiro, 2008) e “Passagem Secreta”, no Centro Universitário Maria Antônia (São Paulo, 2003). Took part in exhibitions such as In Situ – Arte en el Espacio Publico, in Bariloche, Agentina (2012), MAM na OCA: Arte Brasileira no Acervo do Museu de Arte Moderna de São Paulo, at OCA (São Paulo, 2006), Panorama da Arte Brasileira, at Museu de Arte Moderna de São Paulo (2005) and 20 Artistas - 20 Anos, at Centro Cultural São Paulo (2002). Was awarded, in 2004, the Bolsa Vitae de Artes Visuais, with wich realized the exhibition “Projeto para a Ocupação de uma Casa”, in 2007, was awarded on the Edital Arte e Patrimônio - IPHAN/MINC/Petrobras, realizing the permanent piece “JAZ”, in São Miguel das Missões, in Rio Grande do Sul and, in 2010, won the Cultura Inglesa Festival with the instalation “Tim Scott, William Tucker e Phillip King, por João Loureiro”, shown at the Centro Britânico Brasileiro (São Paulo, 2010) .
Carlos Eduardo Riccioppo is currently doing a PhD on the work of Jac Leirner and the state of arts in Brazil in the 1980s and 1990s and has a master degree devoted to the work of José Leonilson, both in History, Theory and Criticism of Art the Department of Fine Arts, University of São Paulo. Graduated from the same institution, he integrates the Brazilian Center for Research in Art of the CAP / ECA / USP. He has published articles on modern and contemporary artists and curated the exhibition Leonilson - drawings in the University Center Maria Antonia in 2008, and End of the first part, João Loureiro at Vermelho Gallery in 2011. In 2010, he obtained a Funarte Scholarship to Stimulate the Critical Production on Visual Arts and he is currently part of the critical groups of the Centro Cultural São Paulo, Centro Universitário Maria Antonia and the Paço das Artes. He also teaches, as a lecturer Professor, Art History in the Department of Fine Arts at USP.
Ana Luiza Dias Batista
et João Loureiro
18.12.13 - 15.02.14