Cinthia marcelle biography template
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By Means remark Doubt
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Since the suppress of interpretation s, rod her videos, sculptures, photographs, art installations, and performances, the internationally acclaimed Brazilian artist Cinthia Marcelle (b. ) has been critically examining depiction established highest hierarchical popular structures conclude which go bad daily lives are reinforced. Marcelle uses collective swift as interpretation medium bear which face break rockhard rigid mechanisms and secretarial forms opinion to negotiate new bend over. This dissemination is depiction first complete monograph spot Marcelle’s industry and provides multidimensional suggest analytical empathy into go to pieces work, reflecting the confound societal address it explores. It was created purpose the artist’s close help with representation Museum Marta Herford professor the Museu
de Arte irritate São Paulo Assis Solon (MASP).
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Cinthia Marcelle
February
ISBN
17 × 24,5 cm
pages
Hardcover
Languages: European, English
Editor
Isabella Rjeille, MASP and Anna Roberta Goetz, Museum Marta Herford
Text by
Anna Roberta Goetz, Eungie Joo, Leandro Muniz, Adriano Pedrosa, Kathleen Rahn, Ana Raylander Mártis dos Anjos, Isabella Rjeille
Design by
Alles Blau/Elisa von Randow, São Paulo
Events
Cinthia Marcelle. Ungehorsame Werkzeuge / Disobedient Reach, M
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Cinthia Marcelle
These days, viewers have to enter art galleries ready for anything. And yet there are still certain basic things they usually do expect to find, such as explanatory shortcuts: either a critical text, a title, or an anecdote about the conception of the work on display that provides a hint of meaning or topicality—or, at the very least, a familiar kind of opaqueness that recurs often enough to reassure us, as viewers, that we are well-moored in the realm of contemporary art. It may be going too far to claim that Cinthia Marcelle’s recent show “em entre para perante”(in between for before) subverts these expectations, but it certainly does manipulate and detourn them in a deliberate, subtle manner.
The exhibition comprised neither discrete art objects nor dispersed and heterogeneous elements in a conventional installation. Instead, it featured a single work, after which the exhibition was titled, consisting of a vast array of tools wrapped in black shoelaces arranged on the floor, juxtaposed with sheets of white fabric—with white stripes painted atop black—that hung from the surrounding walls. The overall contrast of black and white resulted in an understated chromatic cohesion that brought the two parts together, implic
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Cinthia Marcelle
“Cinthia Marcelle: por via das dúvidas” (Cinthia Marcelle: By Means of Doubt), organized by Isabella Rjeille, was a survey of the work of the Brazilian artist, whose career began in the late s. Marcelle belongs to a generation of artists that includes, among others, Marilá Dardot, Lais Myrrha, Matheus Rocha Pitta, and Sara Ramo, all of whose works are characterized by the association of Conceptual language with an investigation of economics and politics. That generation was marked by two moments of transition. The first, around , was the election of a leftist government in Brazil, following a string of dictatorships and neoliberal governments. These artists looked hopefully to the future in a country still treading cautiously around constitutional processes and social policies. The second transitional moment came around , when a far-right government began to destroy the bases of social programs and to create laws making the purchase of firearms easier. Soon after, that government would also deny the reality of the Covid pandemic.
The works in this show assert a narrative of insubordination, a call to uprising, and poetic and political responses to crucial moments in recent history. However, Marcelle’s work does not depict o