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22 Jul 2011

Vitrine Efemera by Pedro Paulo Domingues at Estudio Dezenove, Rio de Janeiro

A Mecânica do sonho

Vitrine Efêmera
Estudio Dezenove


'Vitrine Efemera' proposes experimental site-specific projects designed by guest artists and exhibited at the 'Estudio Dezenove' display window in the Santa Teresa neighborhood of Rio de Janeiro. The project has been conducted since 1998 with an annual average of four interventions which are characterized mainly by the tension between the personal research of each participant and the possible dialogue established with the place. Opening: July 23th 18h

Julio Castro
+55 21 22326572

Estudio Dezenove
Travessa do Oriente 16A
20240-120 Rio de Janeiro

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Between reality and fiction

According to Jung and his analytical psychology, the interpretation of dreams is the master key of his work, since this is where consciousness receives information from the unconscious, unlike Freud, who understands the absurdity of the dream as a facade for repressed desire.

Dream Mechanics, an installation presented by Pedro Paulo Domingues for the Vitrine Efemera project, manifests itself between the following two moments: one that is expressed directly and materially as form, and another, less obvious, that deals with the artist's inherent visionary content. Using a combination of variables where we find sand, a table, a fan, and a veil covering a head, we see details which transpose mere chance in order to be inserted in the intensity of observations. One of the table's legs is broken; the sand covers the whole place; and the head becomes a morphology, more than an evidence. Everything involves the viewer in a dichotomy of consciousness where he/she participates actively and passively while simultaneously traveling between the worlds of fiction and reality.

Within its unique mechanics Pedro Paulo articulates a dialogue in terms of what Edgar Morin stresses as 'the aesthetic relationship that destroys the foundation of belief, because the imaginary remains as imaginary, not existing as a gift to transcendental values', since the proposal of a possible method for understanding the unconscious is the artist's irony, which takes us back to the most unlikely of cases if we recall that Descartes established his scientific system from a dream.

We could say that the machine / brain is in direct relation to external inflows subsequently organized during the dream, as neuroscience believes. And that is exactly where the artist questions the basis of this assertion by proposing an uneven platform on sandy ground. The entire installation acquires a precarious and unstable significance, fanned by ambiguities that all the while change the perception of the thin veil that covers our desires. In selecting his elements, which, supposedly, predict how dreaming works, we understand that his prodigious illustration makes endless random thoughts.

We realize that the artist's choices fall not on aridity, but on the advantageous field of conceptual arguments, i.e., the continuum of creation. Pedro Paulo blows himself and us away with reminiscences of events, not the past ones, which are over, but the present, permanent ones, which tell us what living the dream is like.

Osvaldo Carvalho