QG Anônimos [QG Anonymous]

”(…)” TODAY, EVERYTHING EXISTS TO END IN A PHOTO ”(…)” SUSAN SONTAG.

LAB570’s new project, QG: Anônimos, focuses on an experimental exhibition, aimed at the unfolding of artistic works still in process, offering the exhibition space as a laboratory for the presentation of each artist’s research. Therefore, it is not a question of completely finished works, however, of a possible path for its existence in the world.

Luiz Martins, Luiz83 and Erick Martinelli share an experimental focus with photography, which appears to them as a recent means of expression in their poetic research.

Photography as a pretext in the elaboration of narratives that are sometimes linear, sometimes labyrinthine. They record environments and their objects, document everyday life or act as voyeurs of urban happenings. Thus, they make a cut of the world-image and build a unique imaginary that can be a starting point to activate other imaginaries.

Their perception pulsates in such a way that they cannot stop doing it: eye-arm-camera. The devices used are cell phones and cameras.

Luiz83, an artist, also works as an art exhibition assembler, where he records the backstage of the assemblies, whether in a museum, gallery, studio or at a collector’s home. Being among works of art and being part of the assembly process exerts a fascination on him that leads him to capture these moments, to freeze them, in a kind of appropriation of the objects he uses in his work, through the camera. Moments shared with other colleagues in the anonymity of the assembly make this experience a unique, fun and playful experience.

Luiz83’s photography, taken with a cell phone camera, like a Polaroid, allows him to register quickly, without staging and without further manipulation of the image beyond what is already “spontaneously staged” in the environment chosen for an exhibition.

Erick Martinelli, walking artist in the city, illuminates with his camera the urban happening and the actions of the citizens, those who transit almost invisible in the day to day in the big city. He records and follows the path of some of these inhabitants; listens to what they have to say without judgment; it raises awareness and establishes dialogues that rescue the singularity of the photographed.

The architecture of the city in permanent mutation is a very special interest of Erick, who makes a notation of these changes as an intention of preservation: poetic-political gesture.

His black and white photography harks back to the origins of photography and allows, without the distraction of colors, to look directly at the scene.

Luiz Martins with his photographs–text-drawing proposes a subversion of the photographic image. It is no longer a question of a cut from the real, but of another composition. Many and varied reading possibilities accompany this process. The artist proposes a kind of game to his spectator. He displaces him from passive contemplation to a space-time where opportunities open up so that everyone can build their own imaginary photograph.

Curatorial assistance: Isabel Villalba and Alexandra Ungern-Sternberg