“Trap (Touch Series)”
Trap (Touch Series)
(SKU. 12151)
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Date
2023 -
Technique
adhesive vinyl -
Dimensions
(H x W) 92 x 160 cm -
Edition
10 + 3PA -
Comes with certificate of authenticity
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"Regina Silveira, an artist's artist, when she taught, would tell her students to go to the back of the room and show them the drawings they were making, to see if they were strong or not. She was an artist who created powerful images, the artist reflects on the gallery's ten years with the ten fingers of her open hands, and by doing so she evokes the probable first engraving, the trace left on the wall of a cave, capable of crossing time, uniting itself with the present. As if this emblem were not enough, she, by tangling her fingers in a Cat's Cradle , suggests play as the engine of humanity."
Agnaldo Farias
Biography
Regina Silveira
One of the most internationally renowned contemporary Brazilian artists, Regina Silveira creates installations, objects and two-dimensional works. Among the extensive list of exhibitions in which she has participated in more than thirty cities, we can highlight the 17th and 24th editions of the São Paulo Biennial, the 3rd and 8th editions of the Mercosul Biennial, the 6th Taipei Biennial and the 11th Cuenca Biennial. Winner of several awards and residencies, she has been awarded grants from the John Simon Guggenheim Foundation, the Fulbright Foundation and the Civitella Ranieri Foundation. Her work is included in the collections of the Blanton Museum of Art (USA), MAM – Museum of Modern Art of São Paulo and Bahia, and the Museum of Art of Santa Catarina, among others.
During the 1960s, Regina Silveira began to form an artist, producing mainly geometric engravings. In the following decade, she began to use different media in the same work and, as a pioneer, to work with video, photography, collage, photocopies, and postcards. From then on, she increasingly focused on the theme of the occupation of space, developing projects that subverted the perspective, representation, and perception of the viewer. In the 1990s, the artist gained international recognition through the various awards, residencies, and grants she received. She became even more involved with technological means and even stated that what she did was a “hand-made form of computing.” This was compounded by the specificity of her works for the architectural and spatial context in which they were found. Thus, through vinyl prints, plays with light and shadow, collages, and other direct interventions in the places in which they were created, Regina Silveira presented her most recent poetic discourse. Throughout his academic career, he participated in the training of several artists who today work in the Brazilian and international cultural scene.
For Tadeu Chiarelli, the artist has two main influences that shape her work and “brought as healthy residues from her experience with Iberê Camargo the somber tone of her works, the taste for the expressive deformation of signs, the unrestricted distrust in relation to the effectiveness, in today’s world, of art and its institutionalized codes. With Duchamp, this distrust was transformed into relentless irony, into mordacity aimed at destabilizing the crystallized concepts of art”.
Representative galleries
Luciana Brito Gallery , Sao Paulo
Destaques da carreira
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Instalação “mundus admirilabilis” | 2012 | Mediations Bienalle, Poznan, Polônia | Foto: Eduardo Verderame
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Instalação “Abyssal” | 2010 | Exibida em Lodz, na Polônia. A obra ocupava um espaço de mais de 100 metros quadrados.
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Composta de carros de brinquedo e vinil recortado, “Octopus”, de 2009, foi apresentada na Alexander Gray Gallery, Nova York, EUA | Foto: cortesia Alex Gray Gallery.
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"El Sueno de Mirra y Otras Constelaciones no Museu Amparo" | 2014 | Puebla, Mexico
