Skip to content

The November Trilogy

The tender sharing of space and ideas that takes place in an atelier shared by four artists, transposed to three other places, all completely distinct between themselves and from the original atelier where the project of occupation of those three other spaces was conceived. The unprecedented idea – in my eyes (there are many projects that are the initiative of groups of artists and there are many initiatives that propose the occupation of space in the interleaves in the art circuit, so to speak, but I do not know of any work of periodic artistic occupation of different places by the same group of people with the potential of extending and organizing itself whilst constantly reflecting about past and future phases) - takes form starting in 07 November, with the opening of Chapter 1of this narrative – which has a beginning and a middle, but no definite ending – in the Mackenzie Historical Center, with works of artists Carol Seiler, Helena Kavaliunas, Lynn Carone and Natasha Barricelli. What was once a private matter – the daily life of a shared atelier – comes into being in the form of three exhibitions, with the spaces being exposed, and ideas becoming art works.

The artists of the Atelier of Four, in Vila Madalena, will present, still in November, two more exhibitions, collectively envisioned for different exhibition spaces across the city: Chapter 2 takes place in Atelier 397, and Chapter 3 occurs in the Ophicina Space. All the art works were thought of as problematizations of the very space of which they were part of. This way, if for the Historical Center the artists developed works of institutional nature (meaning works that required a ‘neutral’ exhibition space, a ‘white cube’ to take place), for Atelier 397, the works were made to be site specific. For the Ophicina Space, projects with conceptual traits were conceived so as to dialogue with the hybrid space of a gallery situated in a studio which specializes in montages and frameworks. In its temporary closure, in Chapter 3, it becomes possible to establish links between each artist’s production. Here, one can also see an outline, or trajectory, delimited by the proactive action of the Atelier of Four, of this trilogy ‘written’in November 2007 in the city of São Paulo.

07 November

[…] 2007 – A rainy evening in São Paulo. Ideal conditions of cultural temperature and ambient pressure to hop inside the nifty Mackenzie Historical Center, situated on the campus of Rua Itambé, in the borders of Central São Paulo with the Higinenópolis neighbourhood. The first room presents closed windows, which are partially covered by an unstable wall of bricks. Small bright crevices attract the eye to the internals of this humid wall that has been erected so as to prevent one to see outside. Light that comes from inside the wall are small backlights with images of the Historical Center, such as its own window, or the arabesque stairs, always photographed through crevices. This is Lynn Carone’s intervention, who simultaneously hides and reveals the space’s own secrets: by making it impossible to see through the window, Lynn brings attention to the inside, to the architectonic details, and to the luminosity that inhabits the place.

10 November

[…] 2007 – A sunny Saturday. In Atelier 397, what mobilized artists and guided the discussions was the contrast with the “museological” space of the Mackenzie Historical Center. For it is an alternative exhibition space, “contaminated” by the everyday of its functioning as an atelier and by other architectonic elements and traits of the space, Atelier 397 seemed to crave for site specific works that related to the place, its uses and its history. Thus, each artist established a close dialogue with the space, without setting aside the internal cohesion of their own production, whilst also promoting dialogues with the works shown in the Historical Center, so as to write a second chapter that was internally connected with the first, and ready to unfold into a third one. Lynn Carone picked the niches of a small wall that separates the central corridor of the back of the atelier to install photographic images of that very wall, which were to be “discovered” in the crevices which, until then, were inhabited, in that blue wall...[]

… At the end of the course, for those with an attentive look, because by this point we are no longer before a work that strikes the eyes, but instead of a subtle intervention that demands attention to detail, Lynn Carone invites us to ‘see through’. Photographic images, amplified in transparent surfaces, not only let us see what is behind Atelier 397’s last wall, but also what is inside it. The pictures, as one figures out when watching them, show a deterred investigation of that which the eyes do not capture, of the beauty contained in the details that go unnoticed to the hurried observer. The images also condense a story of the place: the wall must be demolished after the exhibition; another intervention, carried out by another artist, which was captured by one of the pictures, is also going to be removed from there some time. This means Lynn Carrone finishes the exhibition by storing in delicate recipients discovered in the wall the exhibition’s own story, which is all about paying close attention to the space, and making the visitor see it from new perspectives.

28 November

[...]2007 – It is cold in São Paulo. Last stop of the November Trilogy: Ophicina Space, Vila Madalena...

[…] Ophicina is also occupied by the four artists with individual works that interact with the place’s specificity. Each artist utilises three external niches of the space to produce work that is continuous across the inner space, wherein one work of each artist ‘fits’ in a predesigned framework which is identical for all four works. As a smaller and more welcoming place, Ophicina Space’s gallery necessarily makes the four artists interact: the wooden framework unifies their works, whilst simultaneously allowing them to be as different from each other as possible.

An instigating solution to a collective exhibition setting: nobody needs to modify their work to better fit the exhibition. Starting from common rules, each one has space to dare as they may[…] Lynn Carone shows absolute coherence with the previous two exhibitions, provoking once again the experience of “seeing through” things. This time, Lynn does it by adding a detail of Ophicina Space’s door to the “hidden” context behind a voile that separates the exhibition room from the office environment. The expositions causes a great desire to follow along with the next chapters, which the artists are sure to write.

por Juliana Monachesi ( crítica de arte, SP)

en_USEnglish
pt_BRPortuguese en_USEnglish