Home / Art / Visual artist Marcia Ribeiro inaugurates the artistic occupation “Ellipse, Eclipse, Apocalypse”, in 31 July, at the Carmo Planetarium, in SP

Visual artist Marcia Ribeiro inaugurates the artistic occupation “Ellipse, Eclipse, Apocalypse”, in 31 July, at the Carmo Planetarium, in SP

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Artistic occupation "Eclipse, Eclipse, Apocalypse" by Marcia Ribeiro. Photo: Disclosure.
artistic occupation “Eclipse, Eclipse, Apocalypse” by Marcia Ribeiro. Photo: Disclosure.

Providing a sensory and artistic experience in a scientific astronomical research space, visual artist Marcia Ribeiro will intersect knowledge and create relationships of complementarity between the dimensions of macro and microcosm in the free exhibition “Ellipse, Eclipse, Apocalypse”, in occupation that will take place between 31 from July to 30 October, at the Carmo Planetarium, in São Paulo.

with pictorial works, installations and proposition of creative exercises, it establishes bridges between the notions of subjectivity and collectivity. In all the works, Marcia proposes a reflection on our condition as “part of a whole”, exercising the notion of universal consciousness.

“As we look to the sky, we come across something expanded, unknown, filled with voids and celestial bodies that we know are immense, more than, at the same time, seem minimal. When we look at the furthest outside dimension, we face infinity, but we are, also, invited to look at what's inside of us”, instigates her.

Through these intersections between opposing and complementary elements, the artist draws a route with works that mirror celestial bodies and atoms and that play with the notions of observation and imagination, of timelessness and instant, of subjectivity and objectivity.

about the works

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on first installation, a set of flags, with words “Galaxy”, “Universe” and “Planet” Marcia dialogues with the work of Brazilian artist Antonio Dias, “Anywhere is my land”. Her, discusses the concept of territory and the erasure of borders in a globalized world where, beyond the boundaries of political and economic order, there is a common house, inhabited by all.

Already in “Atomic Capsule”, the visitor enters a circular mirror composed of three arches, experiencing the sensation of losing the ground, to float in the sky and, at the same time, be the nucleus of an atom.

Further up, in a sequence of eight large paintings suspended in the air by cables, layers of paint are overlapped and exposed, through the scratch gesture, which leads the visitor to follow a continuous imagery path and, at the same time, fragmented. In the layers of memory and the body of matter in superimposition, time reveals itself in continuous movement and in pauses.

In the words of Ulisses Carrilho, critic who wrote the text of the exhibition: “in acrylic paint, gouache, oily stick or directly dealing with pigments, we perceive a body of works that at times seem to be a jouissance released from experimentation in the form, now seem to have the urge to reveal what science has not yet been able to reveal. As sorts of mirations or hallucinogenic visions, we perceive a psychedelia in a way that does not obey the rigidity of concrete and neo-concrete projects, so important for Brazilian art, but still we perceive a geometric will in the compositions structured by the artist”.

“By looking at your paintings”, he continues, “we recognize puzzles that demand the viewer's time: disobey the speed of the agenda, seem to waste time, invite to a leisure. such a delay, reflection itself, could lead us to travel back in time and speculate on a concomitance regime, of associations free of support or fixity: em Hilma of Klint (1862-1944), Swedish painter who experimented with abstractionism even before Kandinsky or Mondrian, we also perceive a physical representation, on canvas, of what is not visible”.

In the art of Hilma, “the ink recalls that matter, through the gesture, does not operate only in what is concrete or apprehensible, through what has already been explained. It takes on a spiritual edge – not just from the books of art history, but also possible to be paired with Brazilian contemporary art produced by indigenous artists”, in the analysis Ulisses Carrilho.

in another work, “HELLO WORLD- Elliptical Requiem” – which takes place in the great dome of the planetarium -, Marcia projects colors and stars into the immense spherical space, with one soundtrack polyphonic composed by Arthur Braganti that indicates the cycle of a day. Immersion in light and sound takes the visitor on a cosmic journey. In place of the night as a space for creating the future and new possibilities and singing in unison with the neuroscientist Sidarta Ribeiro, the artist puts the dream in a central place, important, in the lives of all of us. And, who knows, how we'll find the way to a better tomorrow. “The work proposes to become aware of the flow of one's own thoughts, instigating reflection, dream diving and renewal in a new morning”, lists Marcia. The title suggests arrival and also departure.

the last job, the proposition “Written in the Stars”, will be interactive. The idea is for the public to share their dreams, desires and thoughts in a digital ritual, through the #ellipseeclipseapocalypse. The public becomes co-author of a great collective work, with infinite imaginative possibilities. work up, then, with the notions of fate, imagination and reality transformation.

With this imaginary exercise, at a time when the perspective of our planetary condition is apocalyptic, Marcia suggests a kind of ellipse, a return so that we can cultivate our transformative potential: our subjectivity and the notion of collectivity – in a mirrored way. According to Carrilho, “in 'Ellipse, Eclipse, Apocalypse', Marcia insists on the perception. It provokes the encounter of its works with those who come to the planetarium to, through their bodies, have an expanded notion of the universe we live in – and will die”.

Finally, the artist believes that holding an art show in this magical place, that permeates our imagination and offers us a playful sky that encourages dreaming, becomes relevant especially at this moment when a perverse logic dominates the current guidelines and explicitly denies science, art, the search. Nature signals that the Anthropocene impacts are already irreversible, demanding urgent behavioral change. Looking 'outside', we question what is 'inside', where are we and what do we do with it. When looking at the sky, we have infinity as a reference and things are resignified, from micro to macro. It's imagining the 'impossible’ to guide the possible!

The show also features a special presentation by the São Paulo Municipal Theater Corps on a date to be confirmed..

Marcia Ribeiro in short lines

working with paint, installation and design, Marcia Ribeiro has as part of her poetics the elements of the, layers of time and memory within an archaeological perspective, the alchemical processes, the notions of collectivity and subjectivity. The artist has a degree in visual arts from FAAP – SP, with a postgraduate degree in Art Teaching at UERJ – RJ. He held the solo exhibitions “In Between” at Svenska Kyrkan in NYC and “A Little Do Nothing” at Casa da Luz, in São Paulo. His most recent exhibition was the group show “Still Utopia: Island” na MC Gallery em NYC. She is co-creator of the Cajubi Festival.

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