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space Espaço N.O with eight female artists, and promoted alternative formats, such as mail art, performance, dance-theater, and installation. Since the 1980s she has been carrying out multimedia installations, manipulated photography, computerized images, objects, videos, and animation. She administered
Galeria Obra Aberta in Porto Alegre from 1999 to 2002, and opened the foundation that bears her name in 2003. Fundação Vera Chaves Barcellos currently owns more than 1500 works by Brazilian and other artists, for example, Mira Schendel (1919–1988), Lygia Clark (1920–1988), León Ferrari (1920–2013), Sol LeWitt (1928–2007), Christo (born 1935), Regina Silveira (born 1939), and Paulo Bruscky (born 1949).
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saying that "from the beginning I had this idea of enlarging them. All the textures of any body is different and we have in our body infinity of landscapes." The work is intended to show a problem of documentation, to suggest terrestrial landscapes, and revoke a questioning of limits of what is and is not. Art critic and curator Icleia Borsa
Cattani says that "These were a question of a selection of elements which allowed an ambiguous reading: that which is intrinsically ours (our body) viewed as something exterior to us (a landscape)."
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And hovering over this, the “natural” sound of birds. Although a manipulation was elaborated using overlapping tracks with different birds singing, nature is still the origin of the sounds." She intended to show a dialogue between the created object and nature throughout this work, reflecting her view since she was young that the world was divided in two different elements, nature and the built.
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Chaves
Barcellos has been dedicated to the dissemination of Contemporary Art, participating in the organization of several exhibitions and publications. she was one of the founders of Nervo Óptico, a group of artists active in Porto Alegre between 1976 and 1978. She managed the influential exhibition
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This installment states the decadence of classical culture in postmodern times. Many materials are used, for example, fragmented photocopies of photographs of ornaments, bits of marble plates, a large white cotton cloth which covers the entire surface of the room. A plate of glass covers the entrance
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This work consists of thirty printed images on translucent paper (1977) enlarged and printed in an analogic process on photographic paper. It is a black and white image of close-ups of skin which does not read as skin, but as landscapes. From an interview, Barcellos revealed the ideas behind the work
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In 2004, Barcellos became a
Spanish citizen. Three years later, Barcellos received the Prêmio Joaquim Felizardo. With the artists Carlos Pasquetti and Patricio Farias, she launched the Obra Aberta Gallery, which operated from 1999 to 2002. In 2003, she established the Vera Chaves Barcellos Foundation
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This work was built for a memorial to the destruction of
Brazilian forests. Engraved marmol plates with the names of 420 trees collected from a Brazilian dictionary, most of them of indigenous origin, were placed side to side in both lateral walls of the installation's central room. At the entrance,
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Barcellos said about this work, "I think the installation for Octógono, in a certain way, is divided into three parts: Two of them are in the platform, where we have two aspects – the ancient craftsmanship of manipulating glasses, and the postmodern technology of light circuits mechatronic commands.
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One of the recent work is
Enigmas (2015) Centro Municipal de Arte, Hélio Oiticica, Rio de Janeiro, Brasil. According to Barcellos, this exhibition could also be classified as an installation which is made of images, fossils, skin pieces and salt boxes. There is a documentary about this exhibition "
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This is a short video made by
Barcellos. She uses humor and irony to make a satire of the intellectualized discussion that accompanies contemporary art production. What could mean despise for academic rhetoric is, above all, a high-spirited commentary on a situation as frequent as it is human – all
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This is an installation about memory and the female universe. An original photo of flowers and hundreds names of women are used in it. Also, it consisted of many materials such as marble, paper, and objects which are manipulated. It presents the idea of femininity, time, memory, and life and death.
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Barcellos made this work at
Galeria Artual in Barcelona, in 1996. It shows a cultural evolution of man, the origin of matter, of life, the beginnings of language. Also, she refers the continuity regarding the procedures from previous works, which means that a photographic image comprised its origin
305:, Antonio Dias and Waltercio Caldas: All had worked with different non-visual matters in the '60s and '70s. It suggests multiple interpretations and metaphors about blindness, presented through the visual arts, literature, and a lectures cycle. The work exhibited by Vera Chaves had as its title "
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door so that people can see but they cannot enter into the space. The only lighting comes from 15-watt bulbs placed under the cloth in front of each plate. It is a funeral chamber to classical culture. It develops the cultural memory by employing manipulated photography using paper and marble.
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in a dark chamber, there are back-light boxes with photoliths by the artist from the 70s. However, now it shows images of forests, trees and cut woods. The last room presents a DVD projection, which shows similar images superposed with images of a flame in permanent movement.
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installations, manipulated photography, computerized images, objects, videos, and animation. Her work has been included in group exhibitions in Latin
America, Europe, South Korea, Japan, the United States, and Australia. She has also had solo exhibitions in Brazil and abroad.
157:, in 1938. She graduated in 1956 from Instituto de Belas-Artes de Porto Alegre, having studied music. However, she gave up her plans to be a musician and instead, she decided to pursue the visual/fine arts. Between 1961 and 1962, Barcellos studied printmaking, painting at the
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are located in the middle, and it is shown as manipulated, enlarged, photocopied object and form the three main images in the exhibition. A grotesque and ironic appearance of the primate bride brings into the question: does the marriage animal-culture succeed?
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which owns more than 1,500 works by
Brazilian and other artists in Porto Alegre, dedicated to the preservation and promotion of contemporary art. In 2007, the Centro Cultural Santander in Porto Alege presented a retrospective of her work.
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This is the only installation in which Barcellos didn't use images but only texts because it was for an “in situ” installation for a collective show held in the Museu d’Art de Girona, in the north of
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760:. Fajardo-Hill, Cecilia,, Giunta, Andrea,, Alonso, Rodrigo,, Armand Hammer Museum of Art and Cultural Center,, Brooklyn Museum,, Pacific Standard Time: LA/LA (Project). Los Angeles. 2017.
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in London. After this experience, photography became the central medium for the artist. Also, reproduction became important to her questioning of the nature of images. Her series
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In her work Barcellos explores the theme of the human body as landscape to engage with the natural environment and makes a symbiotic relations with landscape. Like
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and began to incorporate photography in her work. After receiving a scholarship in 1975, she undertook further studies on photography at the
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by Vera Chaves Barcellos, and it was shown from March 7 to May 23, 2015 in Centro Municipal de Arte Hélio Oiticica, Rio de Janeiro, Brasil.
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Destinos dos Objetos – O artista como colecionador e as coleções da FVCB, Sala dos Pomares, Fundação Vera Chaves Barcellos, Viamão, Brasil
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Fajardo-Hill, Cecilia; Guerrero, Marcela (2017). "Latina Art Through the Exhibition Lens: Radical Women: Latin American Art, 1960–1985".
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Livro de artista no Brasil, Galeria de Arte Paulo Campo Guimarães, Biblioteca Pública Estadual Luiz de Bessa, Belo Horizonte, Brasil.
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Um olhar de Berlim sobre a arte impressa em Porto Alegre (1960 a 2015), Museu de Arte do Rio Grande do Sul, Porto Alegre, Brasil.
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Vestígios do Corpo – Obras de Figura Humana no Acervo do MARGS, Museu de Arte do Rio Grande do Sul, Porto Alegre, Brasil.
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In 2015 she participated in the international collective exhibition "A Mão Negativa," with curator Bernardo de Souza, in
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Ao amor do público I – Doações na ArtRio (2012–2015) e MinC/Funarte. Museu de Arte do Rio (MAR), Rio de Janeiro, Brasil.
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O grao da imagem (2007) was honored as best solo exhibition by Porto Alegre's secretary of culture in 2008.
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7ª Feira Internacional de Edição Contemporânea Art Libris, Claustro de Santa Mónica, Barcelona, Espanha.
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Vera Chaves Barcellos – fotografias, manipulações e apropriações. Paço Imperial, Rio de Janeiro, Brasil
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Nervo Óptico – Conceitualismo e experimentação nos anos 70, Galeria Superfície, São Paulo, Brasil.
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Mulheres radicais: arte latino-americana 1960 – 1985, Pinacoteca de São Paulo, São Paulo, Brasil.
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O Caminho de Tirésias ou Reflexões sobre a Cegueira: um Ensaio sobre Cinco Artistas Brasileiros."
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Nervo Óptico: 40 anos, Sala dos Pomares, Fundação Vera Chaves Barcellos, Viamão, Brasil.
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AI-5 50 ANOS – Ainda não terminou de acabar, Instituto Tomie Ohtake, São Paulo, Brasil.
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Enigmas, Centro Municipal de Arte Hélio Oiticica, São Paulo, Brasil.
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Releituras da natureza-morta, Galeria Carbono, São Paulo, Brasil.
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Sem título (da série: A filha de Godiva), BARCELLOS, VERA CHAVES
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Exposição Coletiva, Museo de Arte de Valls, Tarragona, Espanha.
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Radical Women, Brooklyn Museum, Nova Iorque, Estados Unidos.
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1266:"FVCB » Vera Chaves Barcellos: A Respeito do Sorriso"
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Radical Women, Hammer Museum, Los Angeles, Estados Unidos.
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O que restou da passagem do anjo, BARCELLOS, VERA CHAVES
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Chaves Barcellos's pieces are in the collections of the
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A Mão Negativa, EAV Parque Lage, Rio de Janeiro, Brasil.
830:"Vera Chaves Barcellos | Radical Women digital archive"
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El mundo en su espuma, Ángeles Baños, Badajoz, Espanha.
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Documentário sobre "Enigmas", de Vera Chaves Barcellos
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Memória de um Rio, Studio Clio, Porto Alegre, Brasil.
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Since the 1980s Barcellos's production has included
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19º Festival de Arte Contemporânea Sesc_Videobrasil
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897:"DIVERSIONS AND/OR THE ORIGINALITY OF COPIES"
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358:A definição da arte (1996)
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312:"Per Gli Ucelli", 2010
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187:Rotterdam, Netherlands
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625:A respeito do sorriso
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1073:"Installations-IV"
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391:Recent exhibitions
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