Exhibition: Annunciation
Opening: May 21st, 3 pm to 8 pm
Dates: Exhibition open until July 2nd 2022
Place: R. Damasceno Monteiro, 12 R/C | 1170-112 – Lisbon
Annunciation is the first solo exhibition by the duo Silêncio Coletivo [Collective Silence], formed by Jaime Lauriano and Igor Vidor, in Lisbon.
© Silêncio Coletivo
Annunciation stems from an extensive exploration of the wave of protests organized by Black Lives Matter after the brutal murder of George Floyd in the US city of Minneapolis, the protests against the genocide of indigenous children in Canada, and the burning of the Borba Gato monument to the bandeirantes (early Brazilian fortune hunters) in São Paulo, to raise questions about the tensions of city living. In the midst of these, and other recent demonstrations challenging the commemoration of colonialism in contemporary society, we have witnessed several statues being torn down around the world.
These statues which represented “colonisers” and slavers were toppled by mostly black crowds. This act carries a potent symbolism, as it highlights the urgency of discussing the monuments built and collections established during the period of colonisation.
By filling all the walls of the Hangar with images of recently torn-down monuments to colonialism, the exhibition brings to the surface the importance of rethinking these events.
Propped against the walls you will find images printed on cardboard of monuments that commemorated the Portuguese invasions of the so-called “New World”. Their lack of volume suggests their loss of meaning, and their positioning heralds the imminent fall of those monuments, stubbornly standing, and perpetuating Portuguese colonial self-esteem.
SILÊNCIO COLETIVO
The duo Silêncio Coletivo was created in 2020, after the artists Jaime Lauriano and Igor Vidor shared a studio in the city of Porto, Portugal. In his works, Jaime Lauriano invites us to examine the power structures in the Brazilian historiographic production, to bring to the surface historical traumas relegated to the past, to the confined archives, in a collective review and re-elaboration of History. And Igor Vidor, allow us to reflect in his works, like the approximation of certain objects and materials highlight an intermittent scenar- io and of apparent insoluble violence that finds echoes, and recurrences in Brazil’s history. Both the artists are together now for the elaboration and mixture of their productions.
Jaime Lauriano (São Paulo, 1985)
Lives and works in Sao Paulo/Brazil. He graduated at Centro Universitário Belas Artes de São Paulo, in the year of 2010. From his individual shows he highlights: Marcas, Fundação Joaquim Nabuco, Recife, Brasil, 2018; Ao Norte do Rio, Sesc Santana, São Paulo, Brasil, 2018; Brinquedo de furar moletom, MAC Niterói, Rio de Janeiro, Brasil, 2018; Assentamento, Galeria Leme, São Paulo, Brasil, 2017; Nessa terra, em se plantando, tudo dá, Centro Cultural Banco do Brasil, Rio de Janeiro, Brasil, 2015; Autorretrato em Branco sobre Preto, Galeria leme, São Paulo, Brasil, 2015; Impedimento, Centro Cultural São Paulo, São Paulo, Brasil, 2014; Em Exposição, Sesc, São Paulo, Brasil, 2013; and collective shows: Vaivém, Centro Cultural Banco do Brasil, São Paulo, Brasil, 2019; A Queda do Céu, CAIXA Cultural Brasília, Brasília, Brasil, 2019; Quem não luta tá morto – arte democracia utopia, Museu de Arte do Rio, Rio de Janeiro, Brasil, 2018; Histórias Afro-Atlânticas, MASP and Instituto Tomie Ohtake São Paulo, Brasil, 2018; The World’s Game: Fútbol and Contempo- rary Art, PérezArt Museum Miami, Miami, EUA, 2018; 11a Bienal de Artes Visuais do Mercosul, Triângulo do Atlântico, Porto Alegre, Brasil, 2018; Levantes, SESC Pinheiros, São Paulo, Brasil, 2017; Festival de Arte Contemporânea Sesc_Videobrasil, São Paulo, Brasil, 2017; Metrópole: Experiência Paulistana, Estação Pinacoteca, São Paulo, Brasil, 2017; WELT KOMPAKT?, frei_raum Q21, Viena, Austria, 2017; How to Remain Silent, A4 Arts Foundation, Cidade do Cabo, África do Sul, 2017; Totemonumento, Galeria Leme, São Paulo, Brasil, 2016; 10TH Bamako Encouters, Museu Nacional, Bamako, Mali, 2015; Empresa Colonial, Caixa Cultural, São Pau-lo, Brasil, 2015; Frente a Euforia, O cina Cultural Oswald de Andrade, São Paulo,Brasil, 2015; Tatu: futebol, adversidade e cultura da caatinga, Museu de Arte do Rio (MAR), Rio de Janeiro, Brasil, 2014; Taipa-Tapume, Galeria Leme, São Paulo, Bra- sil, 2014; Espaços Independentes: A Alma É O Segredo Do Negócio, Funarte, São Paulo, Brasil, 2013; he has works in public collections: Escola de Artes Visuais do Parque Lage, Rio de Janeiro, Brasil; Fundação Joaquim Nabuco, Recife, Brasil; MAC Niterói, Niterói, Rio de Janeiro, Brasil; MAR – Museu de Arte do Rio, Rio de Janeiro, Brasil; MASP – Museu de Arte de São Paulo, São Paulo, Brasil; Museu Casa das Onze Janelas, Belém, Pará, Brasil; Pinacoteca do Estado de São Paulo,São Paulo, Brasil e Schoep in Stiftung: The Collection, Lörrach, Germany.
Igor Vidor (São Paulo, 1985)
Lives and works between and Berlin/Germany and Sao Paulo/ Brazil. He graduated at Centro Universitário Belas Artes de São Paulo, in 2010. Among his recente shows he highlights: Igor Vidor IBB-Video Space, Berlinische Galerie Museum Für Moderne Kunst, Berlin, 2021; Violence as Commodities, LOAF Laboratory of art and form, Kyoto, 2021; Trama, Core – Haus der Statistik, Berlin, 2021; New Viewings- Alegoria do Terror, Barbara Thumm Galerie, Berlim, 2020; Alegoria do Terror, Künstlerhaus Bethanien, Berlin, 2020; Heróis nunca celebram vilões / Heróis apenas celebram vilões, Galeria Leme, São Paulo, 2018; and his collectives: Against Again: Art Under Attack in Brazil, John Jay College of Criminal Justice, Nova Iorque 2020; REconhecimen- to, Solar do Abacaxis, Rio de Janeiro, 2019; Com o ar pesado demais para respirar, GaleriaAthena, Rio de Janeiro, 2018; The World’s Game: Fútbol and Contemporary Art,Perez Museum, Miami, 2018; Bienal do Mercosul, Porto Alegre, 2018; Dove Audio Video Festival, Sewoon Arcade, Seul, 2017; Montage is a Heart Beat, Deep in the Mountains Residência Internacional, Seul, 2017; California Paci c Triennial, in occasion of Nancy Popp installation, Orange County Museum of Art, Orange County, 2017; São Paulo não é uma cidade, Sesc 24 de Maio, São Paulo, 2017; 30 anos Instituto Itaú Cultural, Oca São Paulo, São Paulo, 2017; Quando o mar se tornouRio, Museu Histórico Nacional, Rio de Janeiro, 2017; No Man’s Land, NationalMuse- um of Modern and Contemporary Art Korea, MMCA, Seul, 2016; Young Artists Project 16, Daegu Art Square, Daegu, 2016; A cor do Brasil, Museu de Arte do Rio – MAR, Rio de Janeiro, 2016; Jogos do Sul, Hélio Oiticica Cultural Center, Rio de Janeiro, 2016; Linguagens do corpo, Museu de Arte do Rio – MAR, Rio de Janeiro, 2016; Permanências e Destruições, Torre H, Rio de Janeiro, 2016; 1a Imagem e Movimento, Casa França-Brasil, Rio de Janeiro, 2016; Frestas, Trienal de Artes, SESC Sorocaba, 2014; Tatu: Futebol Adversidade e Cultura da Caatinga, Museu de Arte do Rio – MAR, Rio de Janeiro, 2014
