ARTISTS
Diagonais
Fortes D鈥橝loia & Gabriel presents Diagonais, a group exhibition curated by Tiago Mesquita at Galp茫o, in S茫o Paulo. The show is an investigation of diagonals in abstract art, with new works by Beatriz Milhazes and Jac Leirner, as well as historical pieces by Sonia Delaunay, Ivens Machado, H茅rcules Barsotti, Judith Lauand, Raymundo Colares and Wanda Pimentel alongside contemporary names such as Carlos Fajardo, Iran do Esp铆rito Santo, Engel Leonardo, Rivane Neuenschwander and Sheroanawe Hakihiiwe.
In this exhibition, diagonals do not have a final meaning, but span different periods, procedures and approaches in art. They are considered according to different uses and the transformations they provoke in space and the pictorial plane. The diagonal is most of all a cut. It might be a straight line severing a surface, from vertex to the other, but also an inclination that destabilizes the horizon line, reconfiguring relations of balance between formal elements. What is being proposed is the diagonal as the representation of an oblique point of view, as a replication of a non-front facing perspective incorporating peripheral vision, full of occurrences that might not be central in space, but are decisive in representation. Finally, it may be the way in which volumes are set on the ground without sinking both feet vertically into it.
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Fortes D鈥橝loia & Gabriel presents Diagonais, a group exhibition curated by Tiago Mesquita at Galp茫o, in S茫o Paulo. The show is an investigation of diagonals in abstract art, with new works by Beatriz Milhazes and Jac Leirner, as well as historical pieces by Sonia Delaunay, Ivens Machado, H茅rcules Barsotti, Judith Lauand, Raymundo Colares and Wanda Pimentel alongside contemporary names such as Carlos Fajardo, Iran do Esp铆rito Santo, Engel Leonardo, Rivane Neuenschwander and Sheroanawe Hakihiiwe.
In this exhibition, diagonals do not have a final meaning, but span different periods, procedures and approaches in art. They are considered according to different uses and the transformations they provoke in space and the pictorial plane. The diagonal is most of all a cut. It might be a straight line severing a surface, from vertex to the other, but also an inclination that destabilizes the horizon line, reconfiguring relations of balance between formal elements. What is being proposed is the diagonal as the representation of an oblique point of view, as a replication of a non-front facing perspective incorporating peripheral vision, full of occurrences that might not be central in space, but are decisive in representation. Finally, it may be the way in which volumes are set on the ground without sinking both feet vertically into it.
