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Our North Is the South Our North Is the South Our North is the South Our North is the South Bergamin & Gomide is proud to present the exhibition Our North is the South, with essays by curator Tiago Mesquita and Paul Hughes, from August 21 to October 23, 2021. There are Andean textiles, and around 30 artists, which explore the relationship between art and craft, presenting a panorama of works from our continent from pre-Columbian times to nowadays. Weaving is among the first artistic activities of humanity, playing a fundamental role in the creative evolution and representation of the archetypes that populate our collective imagination. In the pre- Columbian Andean societies, textiles could be destined for everyday use or as offerings to the gods in rituals or commercial transactions. However, the legacy of these works reveals to us something even more important, the memory of a millenary iconography. Our North is the South departs from textiles produced by the Inca, Huari, and Nazca cultures in the Andes region - which today covers the territories of Ecuador, Peru, Bolivia, and Chile - relating them to the experimentation with geometric forms carried out by the 20th century avant-garde and several contemporary artists in Latin America. Cultura Huari Cultura Huari The contact between different works seeks to enhancenew ways of thinking about the visual production of our continent. Thus creating dialogues beyond European currents, as will be possible to observe in the works by Joaquín Torres García and Vicente do Rego Monteiro, whose decorative repertoire of Latin American populations seemed a harbinger of constructive reasoning. Joaquín Torres García Vicente do Rego Monteiro Vicente do Rego Monteiro These elements can also be seen in works such as Mäcuïli (2021) by the Mexican artist Pedro Reyes, who elaborates his abstract language based on symbols and cultural conceptions of Mesoamerican cosmogonies. Also, in Montez Magno's works Trilogia nº 1, nº 2 e nº 3 (1967), which are based on indigenous ornamentation; and in María Freire's Formas Rojas (1961), which, although not explicitly derived, emulates aspects of Amerindian production. Montez Magno On the other hand, artists such as Rubem Valentim, Jorge dos Anjos, Madalena dos Santos Reinbolt and Magdalena Jitrik, work with elementary and regular shapes from elements of religious or popular cultures, whether from religions of African origin, from rural Brazilian life, or the visuality of industrial workers. Jorge dos Anjos Madalena dos Santos Reinbolt There are also works by Afonso Tostes, Amílcar de Castro, Celso Renato, and Héctor Zamora, which approach Andean textiles through other correlations, such as those between work, form, and material. The link with the weaving technique can also be seen through the patterns, which find approximations with works by Lygia Pape and Mira Schendel. Celso Renato Lygia Pape Mira Schendel Part of the artists in this group show are exponents of the South American abstract and geometric avant-garde, among them Lygia Clark, Sergio Camargo, Milton Dacosta, Willys de Castro, Hélio Oiticica, Aluísio Carvão, and Amilcar de Castro, with historical works produced during the Concrete and Neo concrete art movements. Lygia Clark Sergio Camargo Aluísio Carvão According to curator Tiago Mesquita: "Supposedly neutral elements lose their proclaimed universality when seen in different contexts. Thus, the uses of those elements become more historical, particular, contradictory – therefore, more interesting. More idealist, platonic interpretations like to imagine that formal, symbolic, or narrative recurrences occur. They would echo of a universal dimension of humanity, of a fundamental element of consciousness, from transcendental spirituality to historical, cultural, geographical, and social changes. Even though this text does not undertake theoretical leaps, it is not too much to affirm that this exhibition takes the opposite path. What is of interest are less the recurrences and more the possible variations, the contrasts, recompositions of the use of lines in South America." Our North is the South is a project that has been in development for about two years, in collaboration with Paul Hughes Fine Arts gallery and organized by Tiago Mesquita, Thiago Gomide, and Bruna Grinsztejn. Bergamin & Gomide's intention with the exhibition is to promote art from our continent, highlighting local and Latin American production to a broad and plural audience. The group show also includes a catalog, and the exhibition set design is signed by Entre Terras studio. With works by: Afonso Tostes, Alfredo Volpi, Angelo Venosa, Aluísio Carvão, Amilcar de Castro, Antonio Dias, Celso Renato, Delba Marcolini, Emanoel Araújo, Fátima Neves, Franz Weissmann, Gabriel Orozco, Héctor Zamora, Hélio Oiticica, Ivan Serpa, Jandyra Waters, Joaquín Torres García, Jorge dos Anjos, Judith Lauand, Lygia Clark, Lygia Pape, Madalena dos Santos Reinbolt, Magdalena Jitrik, María Freire, Marioly Rosas Figueroa, Milton Dacosta, Mira Schendel, Montez Magno, Pedro Reyes, Rubem Valentim, Sergio Camargo, Sheroanawe Hakihiiwe, Vicente do Rego Monteiro, Willys de Castro, and from the Inca, Huari e Nazca cultures. Service: Nosso Norte é o Sul Sábado, 21 de agosto 10 às 19 horas Entrada gratuita Rua Oscar Freire 379, Jardins, São Paulo August 21 to October 23, 2021 Monday to Friday, 10 am to 7 pm Saturday, 10 am to 3 pm Press information: Cammila Ferreira [email protected] Highlights: Cultura Huari [Huari Culture] (600-1000 d.C. [A.D.]) Túnica (Motivo de cruz) [Tunic (Cross motif)], c. 800 d.C. [A.D.] Trama e fibras de camelídeo [Woven and camelid fibers] 143 x 126 cm [56 1/4 x 49 5/8 in.] (HUA-0002) Cultura Huari [Huari Culture] (600-1000 d.C. [A.D.]) Pintura têxtil geométrica [Geometric painted textile], c. 800 d.C. [A.D.] Trama e fibras de camelídeo [Woven and camelid fibers] 67 x 110 cm [26 3/8 x 43 1/4 in.] (HUA-0004) Cultura Huari [Huari Culture] (600-1000 d.C. [A.D.]) Túnica frontal (Motivo caudal) [Frontal tunic (Tail motif)], c. 800 d.C. [A.D.] Trama e fibras de camelídeo [Woven and camelid fibers] 110 x 116 cm [43 1/4 x 45 5/8 in.] (HUA-0007) Cultura Huari [Huari Culture] (600-1000 d.C. [A.D.]) Túnica frontal [Frontal tunic ], c. 800 d.C. [A.D.] Trama e fibras de camelídeo [Woven and camelid fibers] 92 x 78 cm [36 1/4 x 30 3/4 in.] (HUA-0008) Cultura Huari [Huari Culture] (600-1000 d.C. [A.D.]) Tunica infantil tie dye [Tie dye child tunic], c. 800 d.C. [A.D.] Trama e fibras de camelídeo [Woven and camelid fibers] 114 x 67 cm [44 7/8 x 26 3/8 in.] (HUA-0011) Cultura Huari [Huari Culture] (600-1000 d.C. [A.D.]) Painel têxtil (Motivo de caveira) [Textile panel (Skull motif)], c. 800 d.C. [A.D.] Trama e fibras de camelídio [Woven and camelid fibers] 90 x 90 cm [35 3/8 x 35 3/8 in.] (HUA-0012) Cultura Nazca [Nazca Culture] 200-600 d.C. [A.D.] Túnica (Listras verdes, pretas, amarelas e vermelhas) [Tunic (Striped green, black, yellow and red)], c. 200 d.C. [A.D.] Trama e fibras de camelídeo [Woven and camelid fibers] 134 x 202 cm [52 3/4 x 79 1/2 in.] (NZC-0001) Mira Schendel (1919-1988) Sem título [Untitled], 1980 Assinada e datada (borda esquerda) [Signed and dated (left edge)] Tapeçaria [Tapestry] 75 x 39 cm [29 1/2 x 15 3/8 in.] (MRA-0320) Sergio Camargo (1930-1990) Sem título [Untitled], 1968 Relevo de madeira pintado montado sobre bloco de madeira [Painted wood relief mounted on wood block] 25 x 22 x 19.5 cm [9 3/4 x 8 5/8 x 7 5/8 in.] (SC-0034) Celso Renato (1919-1992) Sem título [Untitled], Década de 1980 [1980's] Assinada no verso [Signed on the reverse] Óleo sobre cartão [Oil on cardboard] 10 x 17.5 cm [4 x 6 7/8 in.] (CRE-0012) Celso Renato (1919-1992) Sem título [Untitled], 1988 Pintura sobre madeira [Painting on wood] 22 x 30 x 9 cm [8 5/8 x 11 3/4 x 3 1/2 in.] (CRE-0018) Lygia Clark (1920-1988) Superfície Modulada nº 2, 1956 Assinada e intitulada no verso [Signed and titled on the reverse] Tinta industrial sobre madeira [Industrial paint on wood] 104.5 x 53.3 cm [41 1/8 x 21 in.] (LC-0068) Joaquín Torres García (1874-1949) Hombre universal con dos figuras y cruz, 1942 Assinada (superior esquerdo); datada (superior direito) [Signed (upper left); dated (upper right)] Afresco sobre juta [Fresco on burlap] 61 x 50 cm [24 x 19 3/4 in.] (JTG-0011) Joaquín Torres García (1874-1949) Constructivo America, 1946 Assinada (superior esquerdo) [Signed (upper left)] Afresco sobre juta [Fresco on burlap] 53.5 x 45 cm [20 7/8 x 17 3/4 in.] (JTG-0009) Vicente do Rego Monteiro (1899-1970) Composição Indígena, 1922 Assinado, situado e datado (superior esquerdo) [Signed, situated and dated (upper left)] Óleo sobre madeira [Oil on wood] 37 x 26.5 cm [14 5/8 x 10 3/8 in.] (VCM-0005) Lygia Pape (1927-2004) Sem título (da série Tecelares [from the Tecelares series]), 1954 Assinado e datado (inferior direito) [Signed and dated (lower right)] Xilogravura sobre papel japonês [Woodcut print on Japanese paper] 45 x 33 cm [17 11/16 x 12 15/16 in.] (LYP-0012) Aluísio Carvão (1920-2001) Cromática 4, 1960 Óleo sobre tela [Oil on canvas] 50 x 61 cm [19 3/4 x 24 1/8 in.] (ALC-0015) Jorge dos Anjos (1957) Sem título [Untitled], Década de 1990 [1990's] Peroba do campo [Peroba do campo wood] 210 x 20 x 20 cm [82 5/8 x 7 7/8 x 7 7/8 in.] (JDA-0001) Madalena dos Santos Reinbolt (1919-1977) Sem título [Untitled], Décadas de 1960-1970 [1960’s-1970’s] Tapeçaria [Tapestry (woolwork)] 91 x 108 cm [35 7/8 x 42 1/2 in.] (MSR-0001) Montez Magno (1934) Trilogia nº 3, 1967 Assinada e datada (superior direito); assinada, datada, intitulada e situada no verso [Signed and
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