EXPOSIÇÕES INDIVIDUAIS / SOLO EXHIBITIONS

Transcrição

1 DANIEL LIE

2 EXPOSIÇÕES INDIVIDUAIS / SOLO EXHIBITIONS

3 Filhxs do Fim, Casa Triângulo, São Paulo, Brazil. vista da exposição [exhibition view]. foto [photo]: Filipe Berndt

4 Filhxs do fim, 2018 vistas da exposição [exhibition views] Casa Triângulo, São Paulo, Brazil foto [photo]: Filipe Berndt

5 Filhxs do Fim, Casa Triângulo, São Paulo, Brazil. vistas da exposição [exhibition view]. fotos [photos]: Filipe Berndt

6 O acesso para o Centro de Morte para os Vivos era gratuito. No entanto, para entrar no espaço, as pessoas deveriam deixar seus pertences pessoais do lado externo (calçados, carteiras, bolsas, aparelhos celulares, relógios...), também deixar do lado de fora a comunicação verbal e respeitar a árvore de cannabis. A permanência dentro do espaço variava de acordo com a vontade de cada um. O projeto ocorreu durante 4 semanas, 4 dias por semana (quinta a domingo), 4 horas por dia (18h às 22h, durante o por do Sol), no Performeum, Vienna/Austria. Esta obra foi realizada em parceria com Vivian Caccuri, na criação da trilha sonora original e no soundsystem. O Centro de Morte para os Vivos foi feito com terra, palha, sementes de linhaça brotando, lama, tecido de cânhamo, corda de cânhamo, frutas em decomposição, flores, sistema de som, 3 vasos de cerâmica em seu interior arroz fermentando e duas árvores de cannabis indica, em um galpão com as dimensões aproximadas de 10 x 14 x 11m. [The Access to Death Center for the Living was free. In order to enter the space, however, the visitors were asked to leave their personal belongings outside (shoes, wallets, purses, cell phones, watches...), and also to cease verbal communication and respect the cannabis tree. The permanence inside of the space varied according to personal will. The project wason view for 4 weeks, 4 days per week (from Thursday to Sunday), 4 hours a day (6 to 10pm, during sunset), at Performeum, Vienna, Austria. This work was produced in partnership with Vivian Caccuri, who created the original soundtrack and assembled the sound system. Death Center for the Living was made with dirt, straw, sprouting linseed, mud, hemp fabric, hemp rope, rotting fruit, flowers, sound system, 3 ceramic pots with fermenting rice inside and two cannabis indica trees inside a shed with the approximate dimensions of 10 x 14 x 11m.] Centro de Morte para os Vivos [Death Center for the Living], em colaboração com [in collaboration with] Vivian Caccuri. Viena Festwochen, Vienna, Austria

7 Lie Liong Khing, 2015 Casa Triângulo, São Paulo, Brazil instalação composta por frutas, plantas, terra, cordas tingidas, lona plástica, turmalina, roldanas, ganchos, correntes e fitas refletivas [Installation made of fruit, plants, earth, dyed ropes, pulleys, plastic canvas, Tourmaline, hooks, chains and reflective tapes] dimensões variáveis [variable dimensions]

8 Lie Liong Khing, 2015 vistas da exposição [exhibition views] Casa Triângulo, São Paulo, Brazil

9 Lie Liong Khing, 2015 Casa Triângulo, São Paulo, Brazil vistas da exposição [exhibition views]

10 EXPOSIÇÕES COLETIVAS / GROUP EXHIBITIONS

11 Via Aérea, 2018 vista da exposição [exhibition view] SESC Belenzinho, São Paulo, Brazil

12 O Sol nos Ensina que a História Não é Tudo, 2018, Osage Art Foundation, Hong Kong, China

13 Passa Logo foi uma instalação comissionada para ser realizada sobre a torre de 31 m de altura da passarela do Sesc Sorocaba. Foram utilizadas 162 folhas de palmeiras triangular (Dypsis decaryi), letras de EVA, 2 Banners e 50 metros de tecido vermelho. As mesmas folhagens permaneceram na instalação do início ao fim da exposição. Passa Logo teve a produção da Madai e criação técnica da Arte Técnica com coordenação de Haroldo Alves. [Passa Logo was an installation commissioned for the upper part of the 31 meters high tower of the Sesc Sorocaba s footbridge. A total of 162 leaves of triangular palm trees (Dypsis decaryi), EVA letters, 2 banners and 50 meters of red fabric were used. The same foliage remained at the facility from start to finish of exhibition. Passa Logo was produced by Madai and technical creation by Arte Técnica with coordination of Haroldo Alves.] PASSA LOGO - Frestas - Trienal de Artes, Criação Técnica - Arte Técnicas, Produção da Madai e designer Rafael Assis. Sesc Sorocaba, Sorocaba, Brazil

14 Este trabalho foi um protótipo para o Centro de Morte para os Vivos e ocorreu durante a residência artística Teresina Tohoku no espaço CAMPO em Teresina/Piauí. Como um experimento, diversas atividades e performances ocorreram no entorno da instalação. Este trabalho foi feito com cordas de sisal, vaso de cerâmica com arroz fermentando por dentro, tecido de algodão, bagaço de cana de açúcar, frutas em decomposição, esteiras de palha e velas. [This work was a prototype for Death Center for the Living, and was presented during the artistic residency Teresina Tohoku, at Espaço CAMPO, in Teresina, Piauí, Brazil. As an experiment, several activities and performances were conducted at the installation site. This work was made with sisal ropes, ceramic vase with fermenting rice inside, cotton cloth, sugarcane bagasse, rotting fruit, straw mats and candles.] Experimento para [Experiment for] C.M.P.V + isto é apenas um pano na cabeça de Márcio Nonato [This is only a cloth on Márcio Nonato s head], 2017 Teresina Tohoku / Espaço CAMPO Teresina, Piauí, Brasil

15 Experimento para [Experiment for] C.M.P.V + isto é apenas um pano na cabeça de Márcio Nonato [This is only a cloth on Márcio Nonato s head], Teresina Tohoku / Espaço CAMPO. Teresina, Piauí, Brazil

16 T.D.P foi feito com tecido de algodão, corda de cânhamo, 2 pedras de turmalina, sementes de linhaça germinando e lama. [I.F.H was made with cotton fabric, hemp rope, 2 tourmaline stones, sprouting linseed and mud.] O que vem com a aurora [What comes with the dawn, 2016 Casa Triângulo, São Paulo, Brazil vistas da exposição [exhibition view]

17 O trabalho realizado nos remanescencias de uma cukrászda, antiga doceria tradicional húngara. A instalação ao ar livre foi feita com tecido de algodão, corda de cânhamo, farinha de trigo, sementes de linhaça, vaso de cerâmica e frutas em decomposição. [The work was produced at the remainings of a cukrászda, an ancient Hungarian tradicional pastry shop. The open-air installation was made with cotton fabric, hemp rope, wheat flour, linseed, ceramics vase and rotting fruit.] Até onde você pode descer [How low can you go], Projeto Change. Bupadest, Hungary

18 PODRERA, a terceira parte da Trilogia Podre foi feito com corda e tecido de cânhamo, palha, dois rolos de palha, uma árvore morta, flores, tecido de algodão, bananas, e lama (terra retirada do local, excremento de cavalo, palha, e sementes de linhaça). A instalação teve seu processo criativo encerrado junto ao público na abertura da exposição: durante 5h e 30 min interruptos foi colocada no anel superior do trabalho lama com sementes. Durante o decorrer da exposição, a obra era diariamente regada, as sementes brotaram e as frutas e flores entraram em decomposição. [PODRERA, the third part of the Rotten Trilogy, was made with hemp rope and fabric, straw, two rolls of straw, a dead tree, flowers, cotton fabric, bananas, and mud (land removed from the site, horse excrement, straw, and linseed). The installation s creative process ended with the public at the opening of the exhibition: for 5h and 30 minuts uninterrupted, mud and seeds were placed on te superior ring of the work. For the whole periode of the exhibition, the work was watered daily, the seeds sprouted and the fruit and fowers rotted.] PODRERA, tropicalypse now!. Projeto Brasil. Kampnagel, Hamburg, Germany

19 ERA PODRE é a segunda parte da Trilogia Podre. O trabalho foi composto por cordas de cânhamo, troncos de bambu, linho preto, excremento de vaca, frutas podres e flores Rape. [ROTTEN ERA is the second part of the Rotten Trilogy. The work consisted of hemp ropes, bamboo trunks, black linen, cow excrement, rotten fruit and Rape flowers.] Era Podre [Rotten Era], 2016 Tá tranquilo, tá favorável. Projeto Brasil Hellerau, Dresden, Germany

20 Instalação/performance realizada em homenagem aos 95 anos da avó do artista, Lindinalva, pernambucana e migrante que gerou uma família com mais de 40 integrantes em São Paulo. Na performance, a instalação era desmontada e seus itens eram oferecidos à Lindinalva e ao público. [Installation/performance honoring the 95th anniversary of the artist s grandmother, Lindinalva, from Pernambuco, who generated a family with more than 40 individuals in São Paulo. At the performance, the installation was dismantled and its items were offered to Lindinalva and the public.] Lindinalva e o Bálsamo [Lindinalva and the Balm], CCBB.Música.Performance 4. Centro Cultural Banco do Brasil, São Paulo, Brazil

21 55 cactus de São Pedro, corda e tecido de cânhamo, terra e pasta de adobe (palha e terra coletados na casa e estrume de cavalos corredores). Trabalho realizado a partir da residência no Espacio Nave. Ao final do trabalho todos os cactus foram doados aos moradores do bair- ro Yungay. 5 x 11 sx 1m. [55 St. Peter s cactus, hemp rope and fabric, dirt and mud paste (straw and dirt collected on site and runner horses manure). Work done from the residency at Espacio Nave. At the end of the work all the cacti were donated to the inhabitants of the Yungay neighborhood. 5 x 11 x 1m.] Assumimos, de agora em diante [We take over from now on], espacios revelados / changing places. Ca.Sa., Yungay, Santiago, Chile

22 PODRE SHOW, primeira parte da Trilogia Podre, é uma obra que engloba características de ritual e espetáculo. O processo da obra foi concluído junto ao público. na abertura um banquete de frutas foi dado as pessoas presentes, o espaço foi defumado com ervas atrativas e o artista realizava uma performance carregando uma rocha de quinze quilos, ao som de música pop e luz strobo. A obra iniciou com frutas apodrecidas descartadas por supermercados e 150 quilos de sementes de açaí batido. [ROTTEN SHOW, the first part of the Rotten Trilogy, is a work that sums up characteristics from rituals and spectacle. The process of the work was concluded with the public. at the opening a banquet of fruit was given to the people present, the space was smoked with attractive herbs and the artist made a performance carrying a fifteen-kilo rock, to the sound of pop music and strobo light. The work began with rotten fruits discarded by supermarkets and 150 kilos of beaten acai seeds.] Podre Show [Rotten Show], o Arte Pará. Belém do Pará, Brazil

23 9ª Residência Artística do Red Bull Station [9 th Red Bull Station Art Residency], Redbull Station, São Paulo, Brazil. vista da exposição [exhibition view]

24 Para a realização dessas obras, um objeto que tem uma relação histórica ou de afeto de uma pessoa é entregue/escolhido pelo artista para compor o trabalho. É comum guardamos um objeto pequeno que carrega uma memória de um momento, um suvenir. Nestas obras tanto o corpo quando o espaço são pensados como o suporte. [For these works, an object that has a historical or emotional meaning to someone is chosen by/ given to the artist to take part in the work. It is common to keep small objects that carry the memory of a moment, like a souvenir. For these works, both the body and the wall are thought of as support] Quando meu pai doou um Rim, 2014 jacas, cristal de quartzo, nylon e roldanas [jackfruit, quartz crystal, nylon and and pulley system] O.P.P Objetos Para Pescoço/Parede, 2012/2014 dimensões variáveis [variable dimensions] 9ª Residência Artística Red Bull Station, [9 th Red Bull Station Art Residency], 2014 Redbull Station, São Paulo, Brazil

25 Escroto, 2014 frutas tropicias, plantas tropicais, lixeira, sistema de balança em roldanas, cordas, ganchos e quartzo fumê [tropical fruits, tropical plants, trash, balance system with pulleys, rope, hooks, smoked quartz] 9ª Residência Artística do Red Bull Station, [9th Red Bull Station Art Residency], 2014 Redbull Station, São Paulo, Brazil

26 3 tempos, Prêmio EDP Tomie Ohtake, 2014 nylon, 6 árvores-do-viajante (ravenala madagascariensis) e cristal de quartzo [nylon, 6 tree of the voyager (ravenala madagascariensis) and quartz crystal] Instituto Tomie Ohtake, São Paulo, Brasil vista da exposição [exhibition view]

27 Coração Perecível, SP na Rua, 2014 instalação no centro de São Paulo [installation at São Paulo downtown, Brasil] planta (cascata), cristal de quartzo e cordas [planta (cascata), quartz crystal and rope], dimensões variáveis [variable dimensions]

28 TRABALHOS / WORKS

29 Poder Verticalizado [Vertical Power], 2019 algodão cru tingido naturalmente com cúrcuma, cetim, voal e costura [raw cotton dyed clear with turmeric, satin, voile and sewing] Ed.: única [unique]. 115 x 26 x 13 cm

30 Não sabe o que deseja [Don t know what you wishing for], 2019.algodão cru tingido naturalmente com cúrcuma, cetim, voal, corda de sisal e costura [raw cotton dyed clear with turmeric, satin, voile, sisal rope and sewing]. Ed.: única [unique]. 75 x 63 cm

31 Homenagem a Kali [Homage to Kali], 2018 pintura de batik [batik painting] Ed.: única [unique]. 130 x 100 cm

32 Ouroboro, 2018 pintura de batik [batik painting] Ed.: única [unique]. 130 x 130 cm

33 Passagem [Passage], 2017 costura sobre tecido [sewing on fabric] Ed.: única [unique]. 33 x 30 cm

34 Vai dar certo [It ll work out], 2019 costura e impressão de sublimação sobre tecido [sewing on sublimation print over fabric] Ed.: 1/ x 100 cm

35 Passalogo, 2019 costura e impressão de sublimação sobre tecido [sewing on sublimation print over fabric] Ed.: 1/ x 100 cm

36 Passa, 2017 costura sobre tecido [sewing on fabric] Ed.: 1/ x 110 cm

37 Transição [Transition], 2015 corda tingida, ilhós, lona plástica, chaveiro de caveira, cristal de quartzo, dentes de leite, ossos, borracha japonesa e fita refletiva [dyed rope, grommets, plastic canvas, keychain skull, quartz crystal, first teeth, bones, japanese rubber and reflective tape] 110 x 11 cm

38 Honestidade, intenção e objetivo [Honesty, intent and purpose], 2015 opala, madeira, ametista, folha de ouro, fotografia, corda, fita refletiva, ilhós, ganchos e lona plástica [opal, wood, amethyst, gold leaf, photography, rope, reflective tape, eyelets, hooks and plastic canvas] 109 x 66 cm

39 My pussy is my power, 2015 couro de jaqueta, corda, lona plástica, fotografia, ágata e obsidiana [leather jacket, rope, plastic canvas, photography, agate and obsidian] Ed. única [unique]. 172 x 22 cm

40 Memory stick ou pau de memória, cajado de madeira, corda, lona plástica, ilhós, fita refletiva, fotografia, aquarelas, estátua de cobra boliviana, borracha japonesa, figura de buda tailandês, chaveiro egípcio, madeira e rebite do trilho de trem do deserto de sal da bolívia, moedas gregas, caixa de cigarros da Indonésia, rocha, quartzo com turmalina [wooden stick, rope, plastic canvas, eyelets, reflective tape, photography, watercolors, bolivian snake statue, japanese rubber, thai buddha figure, photograph, egyptian keychain, wood and rivet train rail bolivian salt desert, greek coins, indonesian cigarette box, rock, quartz with tourmaline]. Ed. única [unique]. 132 x 175 cm

41 Spawn, 2014 pedaço de brinquedo, planta de plástico, lacre de segurança, fita hellerman, corda, fita de sinalização e lona plástica [toy piece, plastic plant, security seal, Hellerman tape, rope, signaling tape and plastic sheeting] Ed. única [unique]. 66 x 25 cm

42 Pump, 2014 sisal, ilhós, lona plástica, corda e fita reflexiva [sisal, eyelets, plastic sheeting, rope and reflective tape] Ed. única [unique]. 40 x 15 cm

43 Condomínio, 2014 minerais, coral, planta de plástico, lona plástica, fita reflexiva, fita hellerman, costura [minerals, coral, plastic plant, plastic sheeting, reflective tape, Hellerman tape, sewing] Ed. única [unique]. 97 x 25 cm

44 Se liga, 2014 corda, lona plástica, fita reflexiva, mineral, costura e ilhós [rope, plastic sheeting, reflective tape, mineral, sewing and eyelets] Ed. única [unique]. 150 x 35 cm

45 Retorno [Return], 2013 alumínio, cetim, corda [aluminum, satin and rope] Ed. única [unique]. 39 x 16 cm

46 Enguia I, 2013 cetim e plástico trançado (tricô de dedo) [satin and twisted plastic (finger knitting)] Ed. única [unique]. 120 x 41 cm

47 Amarras, 2013 corda, anel de cobre e fita hellerman [rope, copper ring and hellerman tape] Ed. única [unique]. 40 x 20 cm

48 Te encontrei no lixo e resolvi colocá-lo no pescoço, 2012 madeira, cetim e guizos [wood, satin, and rattles] Ed. única [unique]. 30 x 22 cm

49 Tropical Punk, 2012 planta de plástico, cetim e guizos [plastic plant, satin and rattles] 95 x 15 cm

50 A partir de um vídeo caseiro feito pelo pai do artista em 1991, foi feito uma fotografia digital com o retrato da avó do artista, Lindinalva, hoje com 94 anos. Também, desde vídeo, foi feito um autoretrato do artista quando tinha 3 anos de idade. Ambas as fotos foram impressas em camisetas e dadas para as fiilhas de Lindinalva. A mãe do artista, Iranilda (com óculos na cabeça) ao vestir a camiseta carrega a imagem de três gerações: o filho, a mãe e a avó. [Taking a homemade video from 1991 by the artists father as a starting point, the artist created a digital photograph with the picture of his grandmother, Lindinalva, now 94 years old. Also made after this video there is a self-portrait of the artists when he was three years old. Both photographs have been print onto t-shirts and given to Lindinalva s daughters. The artist s mother, Iranilda (the one with glasses on top of her head), when wearing the t-shirt carries the image of three generations: the son, the mother and the grandmother.]

51 Banga, 2014 instalação [installation] cristal de quartzo de 55 kg, esmeralda, corda, bananeiras, gancho, lona plástica e fita reflexiva [quartz crystal with 55 kg, emerald, rope, banana, hook, plastic sheeting and reflective tape dimensões variáveis [variable dimensions]

52 A instalação tem o tempo como um dos principais elementos, assim a bananeira que foi colocada ainda verde, recém colhida, permaneceu no espaço até apodrecer. O período total da instalação foi de oito semanas. Trabalho realizado na Casa do Povo no Bairro do Bom Retiro, São Paulo. [The installation has time as one of the main elements, just like the banana plant has been placed still green, recently picked, which remains in the space until it rots. The total period of the installation was eight weeks. The work has been made at Casa do Povo, Sao Paulo.] Eu não desisto nunca, 2013 instalação [installation] bananeira, nylon e pregos [banana tree, nylon and nails] dimensões variáveis [variable dimensions]

53 Da especulação do valor do coco, 2013 instalação [installation] escada de madeira, lona plastica, fio de nylon, bandeira do Brasil de plástico e cocos verdes [wooden ladder, plastic sheeting, nylon wire, plastic brazilian flag and green coconuts] dimensões variáveis [variable dimensions]

54 DANIEL LIE NASCEU EM [BORN IN] SÃO PAULO, BRAZIL, 1988 VIVE E TRABALHA EM [LIVES AND WORKS IN] SÃO PAULO, BRAZIL EDUCAÇÃO [EDUCATION] Bacharelado e Licenciatura em Artes Visuais [Bachelor of Arts], Universidade Estadual de São Paulo - UNESP, São Paulo, Brazil EXPOSIÇÕES INDIVIDUAIS [SOLO EXHIBITIONS] 2019 Os Anos Negativos, Jupiter Art Land, Edimburgh, Scotland 2018 Filhxs do Fim [Children of the End], Casa Triângulo, São Paulo, Brazil 2017 Centro de morte para xs vivxs [Death center for the living], Performeum/Vienna Festwochen, Vienna, Austria 2016 Até onde você pode descer?, Change-Change, Budapest, Hungary 2015 Lie Liong Khing, Casa Triângulo, São Paulo, Brazil Pacto com o Futuro, Centro Cultural São Paulo, São Paulo, Brazil Meus Sentimentos, Oficina Cultural Oswald de Andrade, São Paulo, Brazil 2011 Âmago, Instituto de Artes da Universidade Estadual de São Paulo - UNESP, São Paulo, Brazil EXPOSIÇÕES COLETIVAS [GROUP EXHIBITIONS] 2018 Via Aérea, curadoria de [curated by] Márcio Harum, SESC Belenzinho, São Paulo, Brazil Espacios Revelados, Bucaramanga, Colômbia Festival Valongo - Festival Internacional da Imagem, Santos, Brazil The sun teaches us that history is not everything, Osage Art Foundation, Hong Kong, China Bouge B Festival, Antwerp, Belgium 2017 XIV Bienal da Indonésia - Biennale Jogja, Jogja National Museum, em Yogyakarta, Indonésia Quermuseu Cartografias da Arte Brasileira, curadoria de [curated by] Gaudêncio Fidelis, Santander Cultural, Porto Alegre, Brazil Frestas - Trienal de Artes, Sesc Sorocaba, Brazil Welt Kompakt? Out of Brazil, curadoria de [curated by] Ursula Maria Probst, Vienna, Austria You or I?, curadoria de Ursula Maria Probst, Melk, Austria O terceiro mundo pede a benção e vai dormir, curadoria de [curated by] Victor Gorgulho, Despina, Rio de Janeiro, Brazil Centro de Morte para os Vivos, Viena Festwochen, Vienna, Austria O importante, minha filha, é nunca tirar a mão do barro, Carbono Galeria, São Paulo, Brazil Teresina Tohoku, CAMPO, Teresina, Brazil 2016 O que vem com a aurora, curadoria de [curated by] Bernardo Mosqueira, Casa Triângulo, São Paulo, Brazil Elefante branco com paninho em cima, curadoria de [curated by] Ana Maria Maia, Paço das Artes no MIS, São Paulo, Brazil Projeto Brasil - Tropicalypse Now!, Kampnagel, Hamburg, Germany Tá tranquilo, Tá favorável, curadoria de [curated by] Paula Borghi, Hellerau, Dresden, Germany Espacios Revelados, La CA.SA, Santiago, Chile 2015 Saideira, curadoria de [curated by] Fernando Mota, Casa Triângulo, São Paulo, Brazil One Plus One, Lubomirov/Angus-Hughes, London, United Kingdom 34ª Arte Pará, Museu do Estado do Pará; Museu da Casa das Onze Janelas; e [and] Museu Paraense Amílio Goeldi, Belém, Brazil Abre Alas 11, Galeria A Gentil Carioca, Rio de Janeiro, Brazil 2014 Expo 14/15, Galeria Bolsa de Arte, Rio de Janeiro, Brazil Iª Mostra do Programa de Exposições 2015, Centro Cultural São Paulo - CCSP, São Paulo, Brazil 9ª Residência Artística do Red Bull Station, São Paulo, Brazil Prêmio EDP Tomie Ohtake, Instituto Tomie Ohtake, São Paulo, Brazil Galeria Transitória, Redbull Station, São Paulo, Brazil Coletiva, Tofiq House, São Paulo, Brazil SP na Rua, instalação [installation], São Paulo, Brazil Dez/proposições, Espaço Hussardos, São Paulo, Brazil 2013 Feira Parte, Paço das Artes, São Paulo, Brazil Projecto Múltiplo, Centro Cultural São Paulo - CCSP, São Paulo, Brazil 2012 Lote, Instituto de Artes da Universidade Estadual de São Paulo - UNESP, São Paulo, Brazil Laço, Paço das Artes, São Paulo, Brazil Para Todos, Liceu de Artes e Oficio, São Paulo, Brazil Fabrique à Rêves, Le 6B, Saint Denis, France NEO-TROPICALISM: Brazilian art in constant mutation, Camp and Furnace, Liverpool, UK Nova Contemporary Culture Festival, Casa das Caldeiras; e [and] Museu da Imagem e Som, São Paulo, Brazil nós-moçada TAZTU, Centro Cultural São Paulo, São Paulo, Brazil nós-moçada #2, Ateliê Veredas, São Paulo, Brazil nós-moçada #1, Casa Contemporânea, São Paulo, Brazil

55 2011 Programa Experiência, Itaú Cultural, São Paulo, Brazil GIRA, Peras Del Olmo, Buenos Aires, Argentina ]ENTRE[, Instituto de Artes da Universidade Estadual de São Paulo - UNESP, São Paulo, Brazil Mônica Nador com autoria compartilhada, Pavilhão das Culturas Brasileiras, São Paulo, Brazil 2009 Ateliê de Gravura, Oficina Cultural Oswald de Andrade, São Paulo, Brazil 2008 Linha Poesis, Instituto de Artes da Universidade Estadual Paulista - UNESP, São Paulo, Brazil RESIDÊNCIAS [RESIDENCIES] 2018 Sharjah Art Foundation, Sharjah, United Arab Emirates 2017 Teresina Tohoku, Espaço CAMPO, Teresina, Piauí, Brazil 2016 NAVE, Santiago do Chile, Chile º Residência Artística Redbull Station, São Paulo, Brazil 2013 Espaço Cultural Casa do Povo, São Paulo, Brazil B, Le 6B, Saint Denis, France LOTE - UNESP, Fazenda Serrinha, Bragança Paulista, São Paulo, Brazil 2009 Gravura em Metal, ateliê da artista plástica Eliane Santos Rocha, Porto Alegre, Brazil

56 FRIEZE MAGAZINE. MARCH 2018

57 FRIEZE MAGAZINE. MARCH 2018

58 ARTREVIEW. SEPTEMBER 2017 Interview Daniel Lie Mystical experiences are all over art, but people don t talk about them by Ross Simonini 62 ArtReview

59 ARTREVIEW. SEPTEMBER 2017 For the most part, visual art stands before you on the wall or it rises up to meet you from the floor. Daniel Lie s work arrives, most often from above. It drapes and sways and drips from the rafters. The relationship it describes is between the heavens and the dirt: looking skyward, falling earthward. Rocks cradled with rope, fruit sagging in mesh sacks, crystals the size of bowling balls suspended by a complex network of fibres. In the twenty-nine-year-old Brazilian artist s recent installation Death Center for the Living (2017) at the Wiener Festwochen, viewers reclined on straw mats and gazed up into a hanging garden. Overhead, linseeds sprouted and died in a canopy of fresh soil, rotting fruit, cannabis plants, drying flowers and fermenting rice. In accord with Lie s conditions, anyone who entered the space was to remain silent and leave belongings outside the installation wallet, watch, mobile phone, camera, shoes. Throughout all of this, Lie sat inside the environment and meditated. He is often directly present in his art, and performs rituals throughout the entire process, from conception to exhibition. In interviews and at openings, he paints his face and body in bright blues and sunset reds, and dyes his eyebrows canary yellow. He costumes regularly, particularly in workmen s uniforms, and sees dressing up as a part of the art process. He wears a single thick tail of hair down his back and shaves the rest. For Lie, dress and body colours change frequently, and serve as an extension to his art. This kind of self-transformation began when he was working with Voodoohop, an art collective in his hometown of São Paulo, which inhabited local natural hideaways and held dance parties influenced by indigenous Brazilian traditions. Likewise, Lie s implementation of materials is learned from traditional farming methods. Recently he s been learning directly from the source, spending periods of his time with the Tupinambá people in the rainforests of Brazil. On Instagram, Lie gives an intimate chronicle of his peripatetic life, floating through a series of installations and residences, both official and self-imposed. This autumn, he travels to Indonesia to make a season-long new work for the Biennale Jogja, where in preparation for the show, he will study with shamans and introduce himself to the home country of his father. ross simonini Is your art born from mysticism? daniel lie I think my work starts in thinking about death. Maybe the first mystical experience I had was the first time I saw a corpse. A relative of mine passed away, my Indonesian grandfather, and I saw the body lying on a metal table before getting his clothes changed for the funeral. I think this situation can be a democratic, open experience. A very basic question opened: where did my grandfather go? Then came another question: if we die, what s the purpose of living? After that, when I was getting above Daniel Lie in collaboration with Vivian Caccuri, Death Center for the Living, 2017 (installation view, Wiener Festwochen, Vienna). Photo: Inés Bacher facing page Daniel Lie installing Podrera, 2016 (Kampnagel, Hamburg). Photo: Martin Meiser deeper in art, I tried to reach back into this experience. The way that I understood this was to reach beyond this constructed reality. So, I ve been practising meditation. I ve been practising Tai Chi Chuan, Vipassana meditation, Daimoku [nam-myohorenge-kyo]. I ve been going to a Candomblé [Afro-Brazilian cult] here in Brazil. I ve been going deeper into the understanding of female strengths in me. Also, I ve been experiencing different types of psychoactive elements, and I think all of this gave me, and can give, a wider understanding of life and death. rs Is making the work a mystical experience for you? dl In my work, I think the first thing is the relationship I develop with it. In one part, I try not to look for complete control of the work. I put in elements that can change throughout time. Nowadays I develop my work for a specific space and I only do it once. And I try to find different layers to connect it to this space, by personal rituals or by meeting with people who had or have a personal connection with the place. Sometimes I sleep at the venue and through my dreams I access an image, a symbology. We re using the word mystical and I like to use the word energy too, but we re talking about a certain kind of energy. Science has many words for energy: gravity, heat, electricity, magnetic fields, etc. And all of them are energy. But maybe we can call this kind of energy a field of emotion. But these words are not enough. The experience, though it can be beyond enough. rs Do you channel this energy with your work? dl I don t think I am channelling. I think this energy can be accessible for everyone, the thing is I feel like it s a language and it requires dedication to be able to communicate with it. But this vision of artistic channelling September

60 ARTREVIEW. SEPTEMBER 2017 can be tricky. I don t like to place myself, as an artist, as different from everybody else. I think our society is very romantic. Here in Brazil at least, when you are an artist you are either a semigod or nearly a vagabond. So where is the middle? Where is the human, the someone normal, just like you or I? In this field of art, it s not something understood only by your brain, but with your emotions, your body. To understand can require a deeper, wider sense of time. Maybe you don t understand the artwork now, but in ten years it will come back to you, and that s the period of time this artwork needed to make sense to you. rs Do you find that there s resistance to this kind of thinking in the artworld? dl Yeah, there s tons of taboo, and one of the easiest ways to talk about it is through scientific language. Our society believes in science, we take it as truth, as reality. Lots of things from science are only theories, but science needs to be believed. When we talk about something that is not from this field, we re going against what society believes, so it gets diminished. When we re talking about this holistic side, we only have a few words to describe so many different energetic processes, and that s very frustrating. These mystical experiences are all over art, but people don t talk about them. Look at the construction of a museum. It s built like a sacred place the way the objects are untouch- able, the way these places can be very socially intimidating for some, the way the space and lighting are designed around pieces of art to enhance them, the amount of security, and even if we look at how people behave inside a museum walking slowly, paying attention and being quiet. Or if we look at Joseph Beuys, his whole work s about energy and material and shamanism and rituals, but texts written about him want to talk more about his political side, involvement with the university and so on. This whole other side is not taken seriously, and I think that s a big mistake. At the same time, as I start to connect with other fields of art, like performance, dance and theatre, there this whole subject is not as taboo as in the visual arts. Even in the academic world they talk about energy, about the unified field and how to connect and work it or be involved with it. I think the United States and countries in Europe can be even more sceptical about the subject than South American countries. In the visual arts we are especially It s not something understood only by your brain, but with your emotions, your body. To understand can require a deeper, wider sense of time. Maybe you don t understand the artwork now, but in ten years it will come back to you, and that s the period of time this artwork needed to make sense to you ignorant of this, and I personally think it s a very irresponsible attitude. rs Your use of organic materials seems connected to this idea of energy soil, live plants, rotten fruit. dl The material is the most important part of the work. I try to bring the material as it is meaning it can change throughout time due to living-dying processes. I am not interested in the representation of something. I m interested in the experience directly. I used to work with synthetics, like plastic, but in 2015 I stopped. I did three solo exhibitions at the same time in São Paulo, in venues that I dreamed my whole life to work in. But I got completely tired, physically and on a spiritual level. At first I couldn t understand why. Then I realised I was making some type of mistake because if I was doing what I believed in, why was I so drained? So after, I thought about the cycle of organic materials, how life and death are not separated, how the fungi that rot also feed the plants. I realise the synthetics did not do that, so I stopped working with plastics. Then I felt like I was able to generate energy again. This was a breaking point in my work. rs When did this break happen? dl In 2016, in Chile, in this hundred-year-old house in this central neighbourhood in Santiago called Yungay. I made a work called Asumimos de ahora en adelante [We take on, from now on]. Lindinalva and the Balm, 2016 (performance, Centro Cultural Banco do Brasil, São Paulo). Photo: Leonardo Matsuhei September

61 ARTREVIEW. SEPTEMBER 2017 Guilhermina Esperança, 2015 (installation view, Casa Triângulo, São Paulo). Photo: Edouard Fraipont 64 ArtReview

62 ARTREVIEW. SEPTEMBER 2017 I used hemp fabric, hemp ropes and dirt. The majority of houses in Chile are made with adobe, so I studied bioconstruction techniques and worked with these techniques for the first time. It was all handmade. I developed this adobe that was a mix of the dirt I gathered with horse manure and linseeds, and mixed everything with my hands. It was a very deep connection with the material. I spent a month doing this work. It was a very remarkable old house, almost a ruin, made of adobe. There were also a lot of dead pigeons in the place and I made some altars for them. I used the sacred cacti from Chile, Bolivia and Peru, which is called San Pedro. I worked with 55 cacti and, at the end of the installation, the people in the area could go there and collect one cactus to take home. So it spread throughout the neighbourhood. After the work was finished, all the biodegradable components went back into the earth. This was the first show I did addressing the question: how do the sacred plants influence an environment while they are alive? And this is especially towards sacred plants usually used in rituals or consumed to achieve other mind-states and living states. I also brought this question to my most recent work, Death Center for the Living, with the two cannabis indica trees. rs Do you see the artist s role as a social one? dl I think the artist is very important for society because we can make other people more sensitive. That s how art has impacted me. I think nowadays the artist is very much needed for our society. To be an artist can be a calling, just like to be a shaman, a priest, a doctor this occupation that is towards the other. I think it is a big responsibility. In Brazil a very, very important artist named Tunga recently died [in 2016], and he is a reference for me. He helped me to see art as shamanism. I felt energy from his objects and installations. I could feel it just like we can feel a living being. rs Does treating art as work conflict with the artist s spiritual role? dl In Brazilian Portuguese, work is trabalho. When you go to make some spiritual act, you need to bring an offering of organic materials or perform a specific ritual that we call trabalho. We call it work. The word is very open. It is a bridge between the spiritual and the labour we do every day. I want to purge myself of work, but I was born in São Paulo, which is a city completely made for work. Three years ago, Pedro França, a Brazilian artist, gave a talk at the event Longitudes, When you go to make some spiritual act, you need to bring an offering of organic materials or perform a specific ritual that we call trabalho. We call it work. The word is very open. It is a bridge between the spiritual and the labour we do every day at the institution Casa do Povo, about the artist as the producer of herself or himself. For us artists, we have to do everything. We have to be our administrator. We have to do the accounting. We have to clean up. We have to have all the skills that would make one company. We do it all by ourselves. I thought he was going to say how difficult it is and share the pain, but actually he started to say that this is the future of capitalism, the self-made person, the person that does everything, the company person. And that shocked me, to understand that I m already creating the model of the future capitalism. I ve been very privileged to be able to do what I do, with the historical, political and social conditions of Brazil I would not be able to deal with all this professional side of the artworld if I hadn t worked as an artist assistant for Leda Catunda for four years, to come to the understanding that with this type of labour we are also feeding this machine. It sometimes feels like there s no way to completely escape, but this is the society where I was born. Biennale Jogja xiv Equator # 4: Indonesia Meets Brazil takes place from 2 November to 9 December Ross Simonini is an artist, writer, musician and documentarian. His first novel, The Book of Formation, will be published by Melville House and Penguin on 14 November How low can you go?, 2016 (installation view, Change-Change, Budapest). Photo: Sári Ember all images Courtesy the artist September

63 ARTREVIEW. SEPTEMBER 2017 Asumimos de ahora en adelante, 2016 (installation view, calle Compañía de Jesús 2850, Santiago de Chile) 66 ArtReview