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Opnun – Unnur Óttarsdóttir – Gazua #947

Gazua #947


Opening: Wednesday, 28.10, at 7 pm

Where: Largo das Artes, Rua Luis de Camões, 2 – Sobrado – Centro

Exhibition continues until 13 November – visiting times from tuesday to friday (11:00 – 19:00). Free admission.

Gazua and Largo das Artes are pleased to invite everyone to the opening of the exhibition Gazua # 947.

Gazua means any lockpick tool which serves to open locked doors and padlocks.

Gazua comes as a platform which brings together artists and people involved in other production areas. The goals are to promote rapid access to exhibition spaces and unconventional spaces in Rio de Janeiro and to develop channels to materialize various projects.

The artists involved in Gazua are Anton Steenbock, Rafael Perez Evans and Pablo Ferretti. All of them have studios at Largo das Artes, which serves as a spot for drawing up and implementing proposals. On 28 October (at 7 pm) Gazua #947 will be open to the public as the first exhibition action of this platform and will bring together the works of artists Andrew de Freitas, Ricardo Càstro and Opavivará.

On the same night, our residency studios will be also open to the public. Come along to see the works of artists Kaia Sand (USA), Unnur Ottarsdottir (ICE) and Patricia Francisco (BRA), which will bring together objects, installations, photography, videos, texts and textiles.

We hope to see you all! Largo das Artes International Residency Programme

UNNUR OTTARSDOTTIR is an Icelandic artist who works with participation and relational art through a variety of medium such as mirrors, installations, performances, video, paintings and audience participatory drawing. Her present and on going work Reflection focuses on the way in which people manifest through interaction and reflection from their fellow beings. The artwork of Ottarsdottir has been exhibited in group and solo shows in a variety of galleries and museums including: The Museum of Akureyri, The Museum of Isafjordur, Reykjavik Art Museum, The Faroe Islands National Art Museum and Edsvik Kunstall in Stockholm. Along with being a practicing artist Ottarsdottir is also an art therapist and she holds a PhD in art therapy from University of Hertfordshire. Along with running a private practice, Unnur has thought art therapy at University of Akureyri, Iceland Academy of the Arts, University of Hertfordshire in England and at the Association of Art Therapist in Romania. Unnur conducts research at the Reykjavik Academy and she has written and published a book chapter and several articles about art therapy in Iceland and internationally. Ottarsdottir has been funded by The Icelandic Visual Art Copyright Association and The Association of Icelandic Artists to participate in the residency at Largo das Artes where she will explore questions of relating, belonging, to be seen and manifested through a gaze of another through participating through relational artwork. Unnur will work with those questions by applications of mirrors, participation and drawing. The work is partly inspired by the therapeutic artwork of the Brazilian artist Lygia Clark. The resulting work will be exhibited at Largos des Artes at the end of the residency and also in Iceland at the Mosfellsbær Art Gallery in November 2015.

KAIA SAND lives and works in Portland, Oregon (USA). She writes investigative, documentary poetry. Her poetry is often physical, experiential, and material, whether that be through walking, embroidering or sledgehammering copper cards. Kaia also teaches at the Portland State University Honors College, where she is a resident poet. With an interest in the impermanence and instability of public space, Sand co-authored “Landsapes of Dissent: Guerrilla Poetry and Public Space”; and created poetry sign projects as well as a series of performative and participatory walks. Through her poetic investigation of the global financial crisis, she curated “Econ Salon” gatherings of artists, economists and housing activists; embroidered an eight-foot poem; and created a magic show. Most recently, she served in an art residency with artist Garrick Imatani at City of Portland Archives and Records Center Archives, where they explored surveillance local police filed on political activists. Sand explored anonymity and exposure in public records through her embroidered triptych and a series of copper cards she sledgehammered with language from the files regarding women organizing for rights, “She Had Her Own Reason for Participating”. She also interviewed activists surveilled in the files, creating “talk-back” works, such as the collaborative poem, “So He Raised His Hand. While in residency at Largo das Artes, funded by the Regional Arts and Culture Council, Kaia Sand is investigating corporeal decay, fire, and power, stemming from her research into global warming and ever-more-extreme means of extracting oil. Working with Brazilian made textiles – cotton and juta- she extends her exploration of the relationship between têxtil and texto, textile and text, writing by embroidering as well as by using fire. She is drawing from a range of influences in Brazil- from the artists Leonilson and Arthur Bispo do Rosário to the popular and public poetry practices of “literatura de cordel” in the northeast of Brazil as well as “pixação”, the poetry painted on the streets of Rio de Janeiro.

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