“Red X”
Red X
(SKU. 9524)
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Date
2020 -
Technique
Rosso Fiorentino stone -
Dimensions
(H x W x D) 24 x 24 x 12 cm -
Edition
30 + 5 AP -
Comes with certificate of authenticity
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The "Múltiplos Inhotim" project, created by the Inhotim Institute to promote collecting and encourage artistic production, is supported by Carbono Galeria, which donates 100% of the sales value of the works to the Institute.
In the two multiples produced by Laura Vinci, we observe a relationship between materiality and abstraction, a recurrent feature in the artist's work. In 2019, she produced a lithograph with an X engraved in blood red on paper, like a point marked on a map. In 2020, the investigation of the X gains three-dimensionality, through a sculpture made of Rosso Fiorentino stone, with an intense red color. The origin of the X in Vinci's work refers to her experience in the theater when she observed a marking on the floor, which she later appropriated, gaining different supports.
Regarding the sculpture, Vinci explains that:
“The X came into my three-dimensional pieces and for me, it is a conjunction, a point of attention, a point on the map. It is as if it could be in everything, in the light, in the air, in us, as if it were ethereal, imprinting itself on the things in the world. Now, it is the same element but in a different state.”
Biography
Laura Vinci
Beginning her work in the 1980s, Laura Vinci focused her attention on space and its configurations. Despite using different materials throughout her work, these materials end up being related by their characteristics of color, materiality and fluidity, or by being different states of the same material, such as marble, dust and glass, or water, ice and steam.
For the exhibition "Arte/Cidade III", in 1997, Laura transformed a building into a kind of hourglass, by letting the dust from the building's decomposition escape through a hole in its slab, causing it to fall from one floor to another.
"Máquina do mundo" (World Machine), from 2005, occupies a room at Inhotim with extremely fine marble dust and a kind of machine that would generate this system. She also uses marble, apples and glass in Ainda viva; and a piano and steam in Choro. All of these works deal with the silent passage of time, a constant theme in her work that, alongside investigations into the nature and states of matter, solidifies the artist's research.
The artist has participated in important group and solo exhibitions, including the 26th São Paulo Biennial, the 2nd, 5th and 7th editions of the Mercosul Biennial and the 10th Cuenca International Biennial. She has recently had important exhibitions: "The Naked Magician", Bonnierskonsthall, Stockholm, Sweden (2014); "The Naked Magician", National Gallery of Denmark, Copenhagen, Denmark (2015); "H", Prada Foundation (Cisterna), Milan, Italy (2017); "Alfaiataria", Pinacoteca do Estado, São Paulo, Brazil (2018); "I hope this finds you well", Tanya Bonakdar Gallery, New York, USA (2019); "Balé Literal", Galeria A Gentil Carioca, Rio de Janeiro, Brazil (2019). His work is part of the collections of the Pinacoteca do Estado de São Paulo, the Inhotim Institute, the Museum of Contemporary Art of the University of São Paulo, the Museum of Modern Art MAM-SP and the Palazzo delle Papesse, Italy.
According to critic Paulo Sergio Duarte, “in contact with her works, we experience a lost time, not that of Proustian memory, but that which has been kidnapped by contemporary life. As a sculptor, her time adheres to matter, even if it is water vapor.”
Representative galleries
Nara Roesler Gallery , Sao Paulo
Destaques da carreira
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Vistas da instalação "Clara-clara", no centro de São Paulo para o Edital Arte na Cidade em 2012. Esta obra também foi apresentada na em Melbourne, na Austrália e no Rio de Janeiro | Foto: Inês Bonduki.
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A instalação A instalação "Mona Lisa", de 2001, é composta de bacias de vidro, água, tubos de cobre e resistências elétricas. A imagem mostra a obra instalada no Paço das Artes, em São Paulo.
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A instalação "Máquina do mundo", de 2004, remete ao poema de Carlos Drummond de Andrade, que se refere à máquina como uma espécie de essência da sabedoria metafísica do mundo. (Coleção Inhotim)
