Group exhibitions and friendly people

This is the place in this house where artist friends meet.

People with whom I cross biography and who intersect, here, in their aesthetic speeches.

Praia, fuleco e outras felicilicidades d

We opened this space, opportunely , on the day of celebration of the abolition of slavery in Ceará . The first event for the abolition of slave labor in Brazilian territory. The exhibition here materialized in its virtuality is a life effort in the saddest and most disastrous March in our history. Even in the face of death, art enjoys. Although suffocated by the most dictatorial, most genocidal systems that can exist, the human spirit wants fruition.

The story goes that the raftsmen under the leadership of the blacks José Luís Napoleão and Francisco José do Nascimento (Chico da Matilde or Dragão do Mar) shouted "No more slaves can be shipped in Ceará!" and they refused to transport captive people on their rafts to the ships that would take them from Ceara to the plantations of Southeast Brazil. Fruit of the abolitionist struggle and the contradictions of the collapsing slave system, the official abolition of slave labor was enacted on March 25, 1884 in Ceará.   

  [Source: ALENCAR, Calé; FORTALEZA, Pingo (ed.); Stories of Light, 100 years without Dragão do Mar - 130 years of Abolition in Ceará].

If it weren't for the slaughter that is killing us, this would be a March 25th of great celebration, after all, it is 137 years since one of the most important abolitionist events in the world.

Here, in this sad March, we exercise the freedom to unite and speak with you in colors and shapes:

" Life wants to live!"

Here we share with you our sensations and our actions.

The first group exhibition in our house presents 15 works that unite us in diversity.

We are four artists from different places, from distant biomes and from different aesthetic experiences but who recognize ourselves in our Africanities.

We open this exhibition with chromatic studies, the powerful abstraction of

pictorial fragmentations, the symmetries of Nick Pereira's graphics in the set "Azul, Amarelo e Vermelho" .  

Then, we move through the paths, the immersions, the imagination and the doings

by the master of ceramics from the Vale do Jequitinhonha, Armando Ribeiro .

We breathe the sertanejo air in the affection-images of Adilbênia Machado .

Finally, I, Wagner Ventura , bring to your eyes two reflexive works from my series of transubstantiations .

Azul
Azul

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Vermelho
Vermelho

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Praia, fuleco e outras felicilicidades d
Praia, fuleco e outras felicilicidades d

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Azul
Azul

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1/15

Nick Pereira

" Blue, Yellow and Red"

The work is a set of 3 paintings named: "blue, yellow and red". It is a study of colors and shapes based on 3D graffiti of a sign.

The 3D graphite letters resemble geometric abstraction. In this way, the paintings are a fragmentation of parts of graffiti letters. In addition to urban art, the paintings are influenced by artists Piet Mondrian, Kandinsky and Paul Klee.

The paintings are also part of the process of creating graffiti murals with 3D letters. The symmetrical graphic shapes present in the painting resemble the cubic shape. The primary colors yellow, blue and red dominate most of the work. In the center of the canvas the cubic forms are painted with primary, analogous and complementary colors.

Nick Pereira started his artistic life in 1999 as a graffiti artist for the hip hop movement in the state of Ceará. He participated in exhibitions at Centro Dragão do Mar (2004), at Unifor Plástica (2009), at MAUC UFC (2012 and 2020), at Sobrado Jose Lourenço (2017), in addition to other exhibitions and murals painted by the city of Fortaleza. He is a social educator, teaches graffiti and drawing techniques mainly in NGOs.

Azul.jpeg
Blue.
Painting
26.5CMx30.5CM
strength
2020.
Amarelo - Obra.jpeg
Yellow.
Painting
26.5CMx30.5CMm
strength
2020.
Vermelho.jpeg
Red.
Painting
26.5CMx30.5CMm
strength
2020.

Armando Ribeiro

"Ceramics"

The interest in ceramics was born in my childhood experiences, when at the fairs in the city of Caraí I was fascinated by the work of artisans from the Santo Antônio and Ribeirão Capivara communities, in the rural area of the municipality.
However, only in 2005, after I graduated in History at UFMG and returned to Vale do Jequitinhonha to work as a teacher in the state public schools in the city of Padre Paraíso/MG, I met master Tonia, ceramist from Embu das Artes SP, at a cultural exchange event. From the modeling workshop held in July 2005, I inserted myself in the ceramic culture of Vale do Jequitinhonha, learning from the masters: Dona Maria, Margarida and José, respectively wife and children of Ulisses Pereira in Caraí/MG, my city country; with D Isabel and children in the community of Santana do Araçuaí (municipality of Ponto dos Volantes/MG); Ulisses Mendes in Itinga/MG; Marcinho and Lira Marques in the city of Araçuaí/MG and in meetings and visits to other artisans in the region.
Since these immersions in the communities and the masters' actions, I have been caught up in the magic of ceramics, its flame and matter, through the popular imagination of Vale do Jequitinhonha and the winds of the metropolises.

OBJETO DE LUZ.jpeg
OBJETO DE LUZ 2.jpeg
OBJETO DE LUZ 3.jpeg
OBJECT OF LIGHT
Product of what affects the relationship between body, desires and spaces in urban environments.
ceramics
32CMx12CMx12CM.

Windows, face to face. The city, affections and follies.

SANTO ANTÔNIO COM O PÃO DOS POBRES E O M
SAINT ANTNIO WITH THE BREAD OF THE POOR AND THE CHILD JESUS READER
Ceramics
42CMx24CMx31CM
Araçuaí/MG.
SANTO ANTÔNIO COM O PÃO DOS POBRES E O M
1.jpeg
SANTO ANTÔNIO COM O PÃO DOS POBRES E O M
THE PEOPLE ABOUT THE CHURCH
Investigation, affections and experiences of popular religiosity in Vale do Jequitinhonha, syncretism and symbolic updates. Popular religiosity in Vale do Jequitinhonha a sung city. A people touched in the signs of the encounter between black, Indian and white - scores of Western Christian civilization. The subverted trail in popular experience:
"throw the first stone to the one who did not suffer for love" (Mário Lago).
ÓRBITA DO DESEJO ENQUANTO O MENINO APANH
ORBIT OF DESIRE WHILE THE BOY CATCHES A STAR
The signs of fertility in the sertão.
Ceramics
70CMx35CMx25CM.

ÓRBITA DO DESEJO ENQUANTO O MENINO APANH
ÓRBITA DO DESEJO ENQUANTO O MENINO APANH

Praise for the movement that such joy pours over us.

O FOGO DA ESPERA 2.jpeg
O FOGO DA ESPERA.jpeg
O FOGO DA ESPERA 3.jpeg
THE FIRE OF WAITING
An appearance of materials for repositioning plant and mineral memory crossed by the flow of sensitive human presence.
ceramic wood stone
22CMx40CMx19CM

There is a time slipping between desire and act. In it, burns the fire of waiting.

SANKOFA - volte e apanhe o que importa.
SANKOFA - volte e apanhe o que importa.
SANKOFA - volte e apanhe o que importa..
SANKOFA – GO BACK AND CATCH WHAT MATTER
Encounter with the African thought that lives in me.
Ceramics
28CM x 20CM x 15CM

Adilbénia Freire Machado

"Ser-to-Boy – Wisdom of time: the old man and the boy or the old boy and the old boy..."

I'm Adilbênia Freire Machado,

philosopher of enchantment, woven by the sertão, weaving ser-tões! Ancestry is my guide, healing and crossroads...

I was born late in the afternoon, just when the sun was setting, on a Wednesday, there in the Sertão dos Inhamus, in the community called Pau Preto, municipality of Parambú – CE, which is about 400km from the “capita”. father, Chico Dimas, says that when I was born he “was setting fire to the world”, he also says that that's why I'm fire. I came into the world through the arms of my Mother Chica, through the strength of my Mother Ivone, under the light of a lamp... My birth already bears the mark of the daughter of the wind, of lightning and thunder. Fire!

My mother says she comes out of the forest, but the forest never left me... it's just that at the age of 15 I came to the Capital to study... In Fortaleza I graduated in philosophy and then went to live in Bahia where I did a master's degree in education studying African philosophy mediated by the philosophies of ancestry and enchantment, thinking about the teaching of Africanities... I went back to Ceará and got my doctorate in education, researching the female ancestral knowledge that weave African philosophies, curricula and Afro-referenced methodologies... I have reflected and embroidered questions around the being-so that exists in each one of us, sensitive listening, the ethics of care, from / with the ancestral knowledge of African philosophy.

Nature moves me, even if sometimes I don't listen to it as I should... time enchants. Ancestry guides, cares, heals and crossroads...

Photography is a way of translating what I don't know how to write... it's a poetic way of thanking nature for life... And this is a breath of life, a therapy... photographing time, the being-so! Nature time, boy time, older time, older... human time! Time gourds of stocks.

The exhibition Ser-tão Menino – Wisdom of time: the old man and the boy or the old boy and the old boy is a tribute and thanks to time, nature, friendship and two great loves: my father Chico Dimas and mine nephew Daniel.

These photos were taken largely during the first months of the Pandemic... in 2020. After more than 20 years of little time at home, I spent 8 months with my parents... in the late afternoon it's almost a rule to see my father coming back from the cow pen and going to feed the donkeys and donkeys that don't have their mothers... Daniel is almost always your company!

After finishing the work, Daniel calls my father to play! Mr. Chico Dimas often says he's tired... one day after insisting a lot and my father saying he was tired, Daniel said:

- Grandpa, let's play the old man's game.

My father asked with laughter:

- My son, how is this old man's game?

Daniel took two chairs, placed them in the middle of the time (in the yard, in front of the door of the house) and said:

- Sit down, grandpa. This is an old man's game, sitting and watching the time!

What wisdom is the boy – old man! What a delight this meeting of the old boy, my father, and the old boy, my nephew!

May this wisdom, of looking at time and, thus, feeling and perceiving nature, understanding how we only exist with it, through it, can teach us about how much this Pandemic, which we are living, has in us said, but we have not heard...

May this wisdom of time, translated into images, soothe, rejoice and take lightness, through the nets, in the midst of chaos!

May the ancestral care of time, embroidered on the old boy and the old boy, be a charm!

Axe!

IMG_3963.JPG
Ser-tão Menino – Wisdom of time: the old man and the boy or the old boy and the old boy.
Photography.
Pau Preto (Parambú – CE)
IMG_7147.JPG
IMG_5623.JPG
IMG_8112.JPG
IMG_5924.JPG
Ser-tão Menino – Wisdom of time: the old man and the boy or the old boy and the old boy.
Photography.
Pau Preto (Parambú – CE)

Wagner Ventura

The two paintings I'm exhibiting are part of the transubstantiations that make up the Celas series (2016/2021). There are no longer words about these pictographic anxieties at the moment because the complete series will be exposed on the page Transsubstantiations on the Balcony of our house.

Tumbeiro. Detalhe. (2).jpeg
Tumbeiro. Detalhe.3 (2).jpeg
Tumbeiro. Detalhe.2 (3).jpeg
Tumbeiro (2).jpeg
Tumbeiro - Diptych.
Painting
91CMX131CM
Strength.
Praia, fuleco e outras felicilicidades d
Praia, fuleco e outras felicilicidades d
Praia, fuleco e outras felicilicidades d
Praia, fuleco e outras felicilicidades d
Beach, fuleco and other happiness of the good citizen .
79CMX120CM
Painting
Strength.
See in Budega the works of this exhibition that will be on sale from 03/26/2021.