A Song For Rio

The new independent, multidisciplinary space Carpintaria in Rio de Janeiro inaugurates with the opening of the group exhibition “Uma Canção para o Rio [A Song for Rio]”, curated by Douglas Fogle and Hanneke Skerath.
In line with the new proposals of the trio Fortes, D’Aloia and Gabriel, the group show gathers works of more than 20 Brazilian and foreign artists. As a tribute to Rio, city of great musicians and where the subject of musicality is very intense, “Uma Canção para o Rio” explores the symbolic relationship between sound and form, in a pleasurable dialogue between art and music.
The relation between visual arts and other fields, as in the aim of the space, brings the curatorial project in selecting artists by the juxtaposition of dissonant voices, investigating on the connection between music and the ways in which it affects our personal and collective memory: the exhibition presents works of well known artists to the Brazilian audience, as Nuno Ramos, Rivane Neuenschwander, Jac Leirner and Ernesto Neto, besides artists who are now arriving in the national and international scene, as Bàrbara Wagner and Vivian Caccuri, but also renowned American artists as Doug Aitken and Bruce Conner.
Exhibiting sculpture, photography, drawings, videos and installations, “Uma Canção para o Rio” it’s made of two groups of works: on one side the production of artists using the sound strictly belonging to the field of music and, on the other, of artists referring to memory and identity formation through music.
Belonging to the first group can be found works as Cerith Wyn Evan’s “Composition foe flutes II” (2011), a suspended sculpture which emits electroacoustic sounds, or Susan Philipsz’s auditory installation “Long gone”. The other group, characterized by a visual reference to the sound, is represented by works as the reinterpretation made by Neuenschwander in Chico Buarque’s album covers from the 1960s and 70s, or Christian Marclay’s corps made by vinyl records.