Curitiba, November 2015 – It is not every day that Antonio Arney reappears in exhibition spaces of Curitiba. And do it in Sacred Art Museum give further meaning to the title of the show, symbolically, like seasons of life, time, as well as of the last steps that Christ suffered for being created in our image and likeness. The Artist’s set of fourteen paintings – a summary of his very active production – speaks of the nature of time that inhabitant, with its embedded layers on wood, a raw material always constituent, offering some drama in the very landscape of her painting . In part, by choosing a despised material, almost averse to such means and, above all, for being eroded […]
His poetic raises a compositional plot, which houses both a constructive desire for order and a rugged geometry that seems to collapse the pure essence of this building just measurements and proportions is the use of the color red, the color of blood, of passion, which It is the basis and support of the images offered as a dominant score, or the three-dimensional collages of waste or objects. With the iconic image force, this three-dimensionality is achieved by superimposed layers of paper (plated aniline and punched, for example), the irregular reliefs of the timber and by the presence of screws, handles, doorknobs.
The work establishes a border situation with a balance that exudes the vaults of architecture, half-moons, columns and brings into play the painting and holds its own visual spirit. As icon and emblem of our times that may keep certain spiritual aura in absentia. Indeed, despite this painting have no religious image (as with the color fields of Rothko or lyrical abstractions of Mira Schendel), it also breathes a rigorous asceticism, austerity idealized in its geometric dream, measures seeking a transcendent balance yet so human, so full of noise and accidents in its expanded surface. The crossing of the wood also brings a degree of impurity (“the wood clean for me has no value,” commented the painter recently) and, above all, houses a temporal architecture, layers as foundations and vice versa. In recognizable vocabulary Arney, there are more like concentrated decades in series as stages stations, time is a substantive ingredient, a spatial feeling. “Time is my matter” read one verse of Drummond de Andrade, painting Antonio Arney seems confess the same.
About the artist Antonio Arney:
Antonio Arney, in its production, performs woodwork with a collage of various materials and paint. Born in 1926 (Piraquara). This show starts a series of exhibitions for the celebration of his 90 years to be completed in 2016. self-taught artist learns the craft of carpentry with his father. His long professional career begins in Curitiba, since the late 1950s, with participation in the Circle of Fine Arts in Cocaco Gallery and later in the collective Paraná Group One.
In his resume lists numerous awards including eight awards in Paranaense Hall and participation of important national and international exhibitions such as I and II Panorama of Current Brazilian Art – MAM / SP (1969 and 1970), Pre-Biennial (1970) and the XI International Biennial (1971), where ten works of the third series entitled “Values Comparison” was displayed in the artist’s room. He joined the Plastic Brazil 72 and I and III National Salon of Fine Arts (1978 and 1980), in Rio de Janeiro. His work integrates public collections of Oscar Niemeyer Museum, Museum of Contemporary Art (PR), São Paulo Museum of Modern Art, UFPR Art Museum and Municipal Museum of Art Curitiba and important private collections.
Adolfo Montejo Navas is a poet, critic and independent curator. Correspondent of the international journal Lápiz Madrid and collaborator of cultural publications in Brazil and Spain. His last production are the curators: Photography Transverse, Vera Chaves Barcellos Foundation, Viamão-Porto Alegre, 2014 and Imagery – Ana Victoria Mussi (1972-2015), Imperial Palace, Rio de Janeiro, 2015 (with Marisa Flórido Cesar) and He is the author of several books: Poiesis Bruscky (COSAC Naify, 2013) and co-author Mario Carneiro – Transits (Circuit, 2014), among others.
Eliane Prolik is artist and independent curator. Currently exhibits his work Red Ahead in Curitiba Biennial, MON; in TRIO Biennial, Rio de Janeiro; Project Art and Industry, MAC USP, São Paulo. In 2009 and 2010 she coordinated the exhibitions and publications Miguel Bakun – The Nature of Destiny, Casa Andrade Muricy in Curitiba and Institute of Contemporary Art in São Paulo and Miguel Bakun – At World’s Edge, Oscar Niemeyer Museum. About her production: Eliane Prolik – World Matters (2014), Eliane Prolik (2011) and Elsewhere: Eliane Prolik (2005).
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