Robert Barry

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Robert Barry GALERIA JAQUELINE MARTINS ROBERT BARRY Robert Barry 30.03 - 18.05.2019 R. DR. CESÁRIO MOTA JR, 443 — CEP — 01221-020 — +55 11 2628.1943 GALERIA JAQUELINE MARTINS ROBERT BARRY Bio Robert Barry New York, 1936. Nova York, 1936. Lives and works in New York. Vive e trabalha em Nova York. Robert Barry is, since the mid 1960’s, one of the most important names in North-American Robert Barry é, desde os anos 1960, um dos maiores nomes da arte conceitual norte- conceptual art. americana. After beginning his career with works that presented groups of monochromatic paintings Após um início de carreira em que utilizava pinturas monocromáticas, e sua disposição in such a way that they could enhance the exhibition space’s characteristics, Robert em conjunto, para realçar as características do espaço expositivo junto ao espectador, Barry completely abandoned conventional painting by 1967 and started a brief series of Barry abandonou totalmente a pintura convencional em 1967 e deu início a uma breve installations made of transparent nylon cords, inert gases, radiation and electromagnetic série de instalações compostas por fios de nylon transparentes, gases, radiação e energia energy. All invisible materials through which the artist aligned himself with the quest for the eletromagnética. Todos materiais invisíveis com os quais o artista se alinhava à busca pela “dematerialization of the art object”, one of the main ideas that drove the development of “desmaterialização do objeto” na arte, um dos principais eixos da arte conceitual nos anos 60. 1960’s conceptual art. Em 1969, em mais uma mudança radical, Barry abandona esta série de trabalhos invisíveis In 1969, in another radical change, Barry abandoned his series of invisible works (convinced (convicto de que eles ainda se relacionavam a uma dimensão física e mensurável) e passa a that they were still related to a physical and measurable dimension) and begun to incorporate incorporar textos em seus trabalhos, ambicionando uma comunicação mais direta com os es- texts into his art, aiming to connect more directly with the spectators and to create a dynamic pectadores e uma dinâmica em que os próprios pensamentos do público em relação aos textos in which every though or reaction coming from the public in relation to the artist’s texts would do artista passam também a se tornar parte do trabalho. Desde então, foi através da lingua- became part of the work. Since then, it was through this textual language, its graphic and gem direta e textual, sua potência gráfica e comunicativa que seus trabalhos se desenvolveram communicative power that Barry’s work developed and made him (along with names like Law- e tornaram Barry (ao lado de nomes como Lawrence Weiner, Ed Ruscha, John Baldessari e Mel rence Weiner, Ed Ruscha, John Baldessari and Mel Bochner) one of the great North-American Bochner) um dos grandes artistas conceituais norte-americanos a trabalhar com as diversas conceptual artists to work with the many potentialities inside written text. potencialidades do texto escrito. In his 55-year career, Robert Barry has participated in exhibitions inside galleries and institu- Em seus 55 anos de carreira, Robert Barry participou de exposições em galerias e instituições tions across Europe, United States and Asia. His work is in renowned collections, including the por toda a Europa, Estados Unidos e Ásia. Seu trabalho está em renomadas coleções, inclu- Guggenheim Museum (New York), MoMA (New York), Stedelijk Museum (Amsterdam), Kunst- indo o Museu Guggenheim (Nova York), MoMA (Nova York), Stedelijk Museum (Amsterdam), museum Basel (Switzerland), Center Georges Pompidou (Paris), Sammlung Ludwig Collection Kunstmuseum Basel (Suiça), Centre Georges Pompidou (Paris), Sammlung Ludwig Collection (Cologne), Museum of Contemporary Art (Los Angeles), among others. (Colônia, Alemanha), Museum Of Contemporary Art (Los Angeles), entre outros. GALERIA JAQUELINE MARTINS ROBERT BARRY Obras /Works Robert Barry 6956 Sem título / Untitled 201 acrílica sobre tela/acrylic on canvas Ed.: unique 30,5 x 30,5 cm cada 6956 Sem título / Untitled 2018 6957 Sem título / Untitled 2018 acrílica sobre painel de madeira/acrylic on wood panel Ed.: unique 30,5 x 30,5 cm cada 6957 Sem título / Untitled 2018 6958 Sem título / Untitled 2018 acrílica sobre tela/acrylic on canvas Ed.: unique 122 x 122 cm 6959 Sem título / Untitled 2018 acrílica sobre tela/acrylic on canvas Ed.: unique 122 x 122 cm 6960 Sem título / Untitled 201 acrílica sobre tela/acrylic on canvas Ed.: unique 122 x 122 cm 6961 Sem título / Untitled 2018 acrílica sobre tela/acrylic on canvas Ed.: unique 122 x 122 cm cada (díptico)/122 x 122 cm each (diptych) 6962 Sem título / Untitled 2018 acrílica sobre painel de madeira/acrylic on wood panel Ed.: unique 30,5 x 30,5 cm 6965 Sem título / Untitled 2018 acrílica sobre papel/acrylic on paper Ed.: unique 66 x 66,5 cm/66 x 66 cm as 6964 6963 7010 Sem título / Untitled 2019 vinil metálico sobre parede/metallic vinyl on wall Ed.: unique dimensões variáveis/variable dimensions 7010 Sem título / Untitled 2019 DETALHES/DETAILS 7007 Sem título / Untitled 2019 vinil translúcido sobre vidro/translucent vinyl on glass Ed.: unique dimensões variáveis/variable dimensions 7007 Sem título / Untitled 2019 DETALHES/DETAILS 7009 Sem título / Untitled 2019 aço inoxidável/stainless steel Ed.: unique 5 x 245 x 910 cm 7009 Sem título / Untitled 2019 DETALHES/DETAILS Vista da exposição / Exhibition view 2019 Robert Barry Galeria Jaqueline Martins, São Paulo Vista da exposição / Exhibition view 2019 Robert Barry Galeria Jaqueline Martins, São Paulo Vista da exposição / Exhibition view 2019 Robert Barry Galeria Jaqueline Martins, São Paulo Vista da exposição / Exhibition view 2019 Robert Barry Galeria Jaqueline Martins, São Paulo Vista da exposição / Exhibition view 2019 Robert Barry Galeria Jaqueline Martins, São Paulo Vista da exposição / Exhibition view 2019 Robert Barry Galeria Jaqueline Martins, São Paulo Vista da exposição / Exhibition view 2019 Robert Barry Galeria Jaqueline Martins, São Paulo Vista da exposição / Exhibition view 2019 Robert Barry Galeria Jaqueline Martins, São Paulo Vista da exposição / Exhibition view 2019 Robert Barry Galeria Jaqueline Martins, São Paulo Vista da exposição / Exhibition view 2019 Robert Barry Galeria Jaqueline Martins, São Paulo GALERIA JAQUELINE MARTINS ROBERT BARRY Nonada: uma reflexão sobre Robert Barry Quando cheguei em casa esperava uma surpresa e, como não a encontrei, fiquei, é claro, surpreendido. Ludwig Wittgenstein, Cultura e Valor, c. 1944 No primeiro parágrafo dedicado a Robert Barry na Wikipedia, lemos que para o artista A “palavra”, tal como na obra Sem título (2019) instalada ao longo das escadas da “o nada parece a coisa mais potente do mundo.” Considerando que esse não é um comentário galeria, está colocada em uma condição diversa daquela do sintagma literário, um patamar irônico, o que pode nos dizer sobre essa sua mostra em São Paulo? narrativo e hierarquizado, mais próxima do paradigma da poesia. E, mesmo ali, ela tem sua razão A crença na potência do “nada” pode ser pensada a partir de uma contextualização dos de ser em algo para além de sua tradução literal, quase como se viesse a questionar a própria propósitos da chamada Arte Conceitual, para a qual a ideia, a infraestrutura filosófica de uma arbitrariedade das convenções que garantem o seu processo de significação, porque opera obra é determinante não apenas de seu significado, mas de sua própria materialidade. Nesse numa “contiguidade” com o real, é como que uma marca ou índice que não “representa” algo, sentido, aproximar-se ou incluir no pensamento da obra a potência do nada conduz para algo apresenta-o instaurando-o na atualidade do público. em que, por exemplo, o suporte tradicional como a pintura ou a escultura pode estar sendo Tudo isso ocorre também por uma ampla rede de aleatoriedade: o acaso parece posto à prova em um processo de “desmaterialização”, uma mudança completa de ênfase das ter, como se percebe em vídeo do artista montando uma de suas exposições, um papel tão questões morfológicas, estritamente formais, para considerações radicais sobre a função daquilo importante quanto o “nada”, permitindo a flutuação de expressões que na sequência em que na sociedade, como a arte opera em termos de um questionamento de suas próprias bases são dispostas ou enunciadas sustentam indefinições, rupturas, contradições, afirmações linguísticas e como ela pode existir justamente no limite de uma quase “inexistência”. surpreendentemente efêmeras ou estranhamente incompletas no sentido de não preencherem Vejam-se, os itens iniciais de uma sequência de cinquenta minutos de sua obra expectativas no automatismo da leitura, nos obrigando a reaproximações em que podemos ler de sonora Otherwise (1981): here it is; nonsense; inevitable; deny; sometimes; touching; endless; maneiras diversas, pelo avesso, por espelhamentos e inferências, a partir não só dos olhos que understand... Entre eles, intervalos nada ansiosos, longos segundos em que se escuta com passam em revista, mas do corpo que se aproxima de um vocábulo ou sentença. precisão os ruídos do vinil. Surgem individualmente e parecem introduzir uma sequência, mas “Private toughts transmitted thelepatically by the artist during the exhibition.” Algo a ligação entre as partes é análoga à ordem dos componentes internos de um trabalho de Carl assim poderia nos atrair e enredar no campo do slogan. Diferentemente, acaba por nos propiciar André ou Donald Judd -
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