This black-and-white photograph depicts an abandoned and weathered easel or easel-like structure in a natural, overgrown setting. The composition features a stark contrast between the geometric, man-made form of the easel and the organic, textural elements of the surrounding tree trunk and vegetation. The stark, graphic lines and shapes of the easel stand out against the rugged, textured backdrop, suggesting a juxtaposition between the artificial and the natural. The artist's intention behind this piece may have been to explore themes of the relationship between man-made and natural elements, the passage of time, or the impermanence of human-made creations within the natural world. ...
To study architecture, in the 1960s Juraci Dórea moved from Feira de Santana to Salvador, where he witnessed the intense cultural production that arose there out of the encounter between the experimental vanguardist attitude and the singular experience of a territory steeped in an Afro-Brazilian heritage. After earning his degree, Dórea returned to his hometown, the municipal seat of the metropolitan region of Portal do Sertão. There, he began to construct a consistent oeuvre, which gradually brought about a convergence of contemporary visual languages with backcountry roots and traditions. His Estandartes de Jacuípe [Banners of Jacuípe] (1975), for example, are rhythmed and symmetric abstract compositions made of treated cowhide, sewn with the same processes used in the common production of saddles and clothing for cowboys. In the 1980s, Dórea’s telluric connection took on another power of magnitude. After beginning his Projeto Terra [Project Earth] (1982 - ), he not only assimilated backcountry artisanal know-how, but also traveled deep into the Bahian backcountry to implant his works in that landscape, often making use of the materials he found in the fields and pastures. Due to this new focus, the primary public of his work was no longer the urban visitor of cultural institutions but rather an audience consisting largely of backcountry dwellers. The records produced in this context, in the form of photographs, films, reports and texts, document not only Dórea’s creative trajectory, but also countless shocks and rearrangements between conceptions of art, language and territory. ...
Founded in São Paulo in 2011, Galeria Jaqueline Martins is a space for research, documentation and presentation of contemporary artistic production. It proposes collaborative curatorial strategies that foster dialogue between different generations and different cultural perspectives. One of its guiding principles is the encouragement of research-oriented conceptualist practices characterized by critical, even subversive, approaches. Since its inauguration, the gallery has developed a special program around the investigation of artistic productions carried out during the Brazilian military period – more specifically from the 1970s and 1980s. It promotes a historical revision of processes grounded on strong intellectual resistance, audacity and commitment to art and which transformed the artistic practice in the country, but nonetheless were neglected throughout the last decades. By integrating research and practice that confront the contemporary scene by means of its exhibition program, the gallery encourages the revival of the debate that conceives of artistic actions as contact zones for the exercise of aesthetic, social and political change. In 2020 the gallery opened its second exhibition space, in Brussels, aiming to expand our presence in Europe and to develop a multidisciplinary program that will foster connections between our artists and Brazilian art practices in an international context. ...
