“NEST (white)”
NEST (white)
(SKU. 9667)
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Date
2020 -
Technique
digital laser engraving on acrylic -
Dimensions
(H x W x D) 18 x 18 x 18 cm -
Edition
15 + 4PA -
Comes with certificate of authenticity
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"'NEST' derives from 'Mundus Admirabilis', a work installed for the first time at the CCBB in Brasília, in the exhibition 'Gardens of Power', in 2007, where large images of harmful insects accumulated inside a large glass space, in direct allusion to the center of political life in the country as a kind of magnificent cage.
In the multiple, the harmful insects, clustered and contained in the small transparent cubes, pursue the same meanings of contamination and deterioration of everyday life that they had in works that covered porcelain for domestic use and were the reason for meticulous cross-stitch embroidery on linen tablecloths.
The difference now is the metaphor of the nest and its consequent potential to hatch - like a plague..."
Regina Silveira
The multiple is derived from the 5th edition of the Caixa de Pandora project, conceived by KURA by Camila Yunes.
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
