TROPICAL GLITCH

a general jam

 

The “geleia geral” (general jam), an expression coined by the poet Decio Pignatari in 1968, that became the title of the manifesto-song of Torquato Neto and Gilberto Gil, referred to a country whose society was divided and contradictory, on the threshold of modernity, yet hooked on tradition.

 

A glitch is a short-lived fault in a system. It is often used to describe a transient fault that corrects itself, and is therefore difficult to troubleshoot. The term is particularly common in the computing and electronics industries, and in circuit bending, as well as among players of video games, although it is applied to all types of systems including human organizations and nature.

 

Andre Niemeyer’s next exhibition mixes this two concepts that are originated a completely diverse environment, but has a common sense to both.
Applying digital originated image problems to a traditional image making form such as painting, underlines dichotomies and creates metaphors to the noises of life.

Kaleidoscopic

 

Kaleidoscopic storytelling could be one of the aims in André Niemeyer’s paintings, looking back to Brazilian art history and taking some of its elements to today’s questions on immigration, miscegenation, syncretism, racism, sexism, homosexuality and relations to power.
 

Art movements such as Anthropofagia, Concretism, Neoconcretism and Tropicalism - the latter leaded by Caetano Veloso - are part of Andre’s research.
Using sometimes, in a kitsch manner, portrait painting and clichés as a form of creating a cast of characters to play a part in a bigger scene and in different but connected histories - from rural exodus to military dictatorship - André leads the viewer to a reflection on the facts and the people that have affected the meaning of being Brazilian today with all its Baroque passé and futuristic ambitions of Modernism.

 

André’s later body of work explores the painting technique of glazing, to create a sequence of transparent color fields which overlaps as a metaphor for photo filters as used in Instagram today, almost in a attempt to control nature and make it look perfect. As the result, the painting itself shines with a beautiful combination of color fields, but it also can throw us back to some more deep aspects of art itself as in the Concrete movement where, as the artist Max Bill said, the aim was to “create in a visible and tangible form things which did not previously exist – to represent abstract thoughts in a sensuous and tangible form”.

RAW

Paris 2007

 

Impassive, beautiful, and damaged, Andre Niemeyer’s
mug shot type paintings of young men situates
a province of ambiguity in his subjects. The rendering
of the masculine icon as both androgynous
and vulnerable engages a politics of sexuality, that
betrays the trap of persona construction. The expressionless
subject evokes a multivalent condition
that manifests as a mixture of celebration and
critique - Niemeyer uses desire to beguile judgement
and in so doing leaves us with questions. Are
they victims of abuse or victims of their own narcissistic
invincibility?
Heroic yet delicate, the duality reveals the ineluctable
vulnerability of youth and the fragility of romanticized
masculinity. The homoerotic element
in the presentation of boys as innocence lost is inextricably
linked to the problem of identity. Showing
the boys as a dissimilar yet homogenous group
Niemeyer uses the idea of the collective identity
as a vehicle to transmit the dilemma of the individual,
caught inside and outside of society. The
almost arrogant passport-photo pathos in each of
the faces deliberately conceals an individual story
and belies the fact that each is alone.

                                                                                       Michael Elion

                                                              NADO SINCRONIZADO 2017

 

André Niemeyer, natural do Rio de Janeiro, desenvolve nesta exposição uma série uma série de
portraits, em óleo sobre papel e canvas, de personagens os quais podemos identificar como “divas”,
heroínas, artistas, transgressoras, famosas, desconhecidas, reconhecíveis ou não, nos remetendo a
figura da “musa”, presente em tempos diferentes, deslocadas entre passado , presente e futuro.
Nas pinturas o olhar das mulheres varia entre encarar o observador, ou fugir de seu foco, um jogo
subjetivo que também acontece entre o sorriso e a tensão iminente, entre o frontalidade e
lateralidade dos rostos. Com isso acolhemos o apurado trabalho do artista, em constante
treinamento, jogando com o rigor técnico em harmonia com a disciplina da facção.
Assim nos aproximamos de idéias como um ”panteão” dedicado a estas mulheres, uma galeria de
personagens, que podem criar uma sensação de estarmos diante de um processo de condução de
um diretor, que agrupa seu elenco, para uma montagem teatral ou para uma produção
cinematográfica, refletindo uma “situação” roteirizada pelo artista/diretor, que pode então expor o
observador para a manifestação feminina no homem (ânima).
Quase como uma consequência destas personagens, surge o perfil idealizado destas figuras
femininas, o refinamento do estilo, do chic e de outros perfis, com sutilezas e subversões, entre a
glória e o apagamento. Ao percorrer o olhar sobre os retratos, estes forçam uma pesquisa pessoal
sobre cada rosto, sobre cada história o que alimenta o confronto entre o real do observador e o
imaginário que envolve a figuração do feminino
.