{"id":2155,"date":"2021-05-17T18:22:31","date_gmt":"2021-05-17T18:22:31","guid":{"rendered":"https:\/\/view.raulmourao.com\/?page_id=2155"},"modified":"2025-07-25T23:07:00","modified_gmt":"2025-07-25T23:07:00","slug":"seta-balanco-janela","status":"publish","type":"page","link":"https:\/\/www.raulmourao.com\/en\/expo\/seta-balanco-janela\/","title":{"rendered":"SETA BALAN\u00c7O JANELA"},"content":{"rendered":"
<\/div><\/span>
\n

SETA BALAN\u00c7O JANELA<\/h1>\n\n\n\n

2018 – RIO DE JANEIRO, LURIXS ARTE CONTEMPOR\u00c2NEA<\/h6>\n\n\n\n
\n
VIEWS<\/a><\/div>\n<\/div>\n<\/div><\/div>\n\n\n\n
\n
<\/div>\n\n\n\n
\n

Back in Rio while still maintaining a studio in New York, the artist presents his seventh solo exhibition at LURIXS Arte Contempor\u00e2nea. Three displayed artworks occupy the gallery\u2019s street level floor, each using a distinct technique of visual expression: photography, sculpture and painting.<\/p>\n\n\n\n

According to the exhibition\u2019s curator Eucana\u00e3 Ferraz, a \u201cstrange play of proportions\u201d took place, in which the three pieces\u2014ARROW SWING WINDOW\u2014\u201dseem disproportionate relative to the space\u201d. Instead of portraying a realistic image of the city, they opted to evoke the feeling that \u201cthe city walked into the gallery without conceding to miniaturization\u201d.<\/p>\n\n\n\n

Arrow Swing Window<\/h2>\n\n\n\n

by Eucana\u00e3 Ferraz<\/h4>\n\n\n\n

The title of the exhibition is explicit, better yet, it makes the exhibition explicit. It says it all. All is synthesis. All in 1. All in 3. <\/p>\n\n\n\n

The exhibition examines powerful tropes \u2013 id\u00e9e fixes \u2013 in the work of Raul Mour\u00e3o: arrows, swings and windows. In a sense, we are presented with a retrospective composed of new works, only 3, at the gallery\u2019s main exhibition hall. Such is the economy proposed by the artist and the curator: to materialize in a few, in so very few, works, a universe that is numerous, complex and ample. An arrangement that is a counterpoint to saturation. Instead of narrative flow, here are combination and synthesis, the traits of poetry. The ideas may be fixed, (and, as Jo\u00e3o Cabral de Melo Neto wrote, are \u201cgood for using\u201d) but they unfold through constant research, and through their unique paths lead, at certain points, to material formulations that meant exiting the studio: forms, volumes, powers that demand contact with the public, that demand new senses, dialogues. Here are thus investigations in their current state that also resonate with the memories of a fascinating output.<\/p>\n\n\n\n

In 1989, Raul Mour\u00e3o started to photograph arrows in street signs used in public works in a number of cities. In 2001, he began to paint arrows, decontextualized and free of their function, they were translated into a state of brute geometry. In 2016, however, Mour\u00e3o moved the arrows \u201cback\u201d to the streets, when he used a long wall in front of his studio, in Lapa neighborhood, as a support for a sequential painting; form was liberated from its utilitarian origins, released from its geometric isolation, now repeating in patterns. In 2017, his work \u201cmigrated\u201d back from the streets to his studio: Mour\u00e3o photographed the entire wall he had painted, creating a total of 18 images that reconstruct the entire work, now also bearing the marks of the passage of time as well as random interventions. One of these photographs is part of the exhibition.<\/p>\n\n\n\n

The swings, or kinetic sculptures, have become the protagonists of Raul Mour\u00e3o\u2019s collected works. One of them, made of corten steel, its imposing presence in the gallery\u00b4s main exhibition room, is especially eloquent of the experience we are proposing here: an unsettling play on proportions, in which the 3 works \u2013 arrow, swing, and window \u2013 seem disproportionate to the space around them. By setting aside the requirements of a faithful portrait of the urban environment, we tried to first create a certain feeling: that the city came directly into the gallery, without even obliging to shrink down to size. Although the trio \u2013 arrow, swing and window \u2013 give the impression of failing to enter into harmony with the room, just as surely, we see no clash among the elements of this group. We recognise a landscape in these fragments, not a literal one, but one that is interpreted, one that also looks back at us, and receives us in its strangeness.<\/p>\n\n\n\n

The great swing \u201cunfolds\u201d into another 3 shown outside the gallery and in the spaces that surround the main room. Outside, to a side of the facade, there seems to be an inversion of what is at play inside the exhibition where the works seem too large for the environment. Outside, with ample space for a large piece, there is a tiny work, leaving the entire front deck free, an area that connects the street, the sidewalk, and the gallery entrance. It is doubtlessly an urbanistic choice, a simple one, that is nevertheless very suggestive, that is fully coherent with Raul Mour\u00e3o\u2019s work, always aware of the city and its spacial and symbolic uses.<\/p>\n\n\n\n

The sculpture placed there, of admirable simplicity, a pile of bricks with a steel swing on top, is the result of Mour\u00e3o\u2019s recent research into materials, objects and kinetic possibilities. The work\u2019s most immediate dialogue manifests itself with the other piece inside the gallery, a bottle that is almost floating, a development of the series shown in the In my opinion exhibition at Plutschow Gallery in Zurich (2017). In his previous work, the bottle and the steel structure comprised the two formal elements of the work, that rested on a base. Now, however, it all became structure, a single drawn object \u2013 Raul is a sculptor draftsman, as much as a draftsman sculptor \u2013 against the vertical plane of the wall.<\/p>\n\n\n\n

The third swing encases a stone. But the mineral element here is not to be taken as a refusal or as aggressiveness. Held up by a pendular structure, the stone expresses an invitation, offers itself to us. Time and nature at the reach of our hands. Could anything be more generous?<\/p>\n\n\n\n

The elegance of these works, minimal and expressive of their restrictive use of material resources summon the economy of a haicai; their serene and austere geometry is reminiscent of Volpi; their formally rigorous humility evokes the poetry of Manuel Bandeira. For those of us used to the large scale sculptures of Raul Mour\u00e3o often shown in public spaces, and who expect his works to be yet another pointed response to the violence of contemporary urban experience, it is surprising to see that the response continues, but that now it goes in the opposite direction. <\/p>\n\n\n\n

It was in 2014 that windows first emerged in the work of Raul Mour\u00e3o. Although his initial process was similar to monotyping, the images he obtained did not result from the more common process of painting something on a surface and subsequently pressing it on paper. As a technique it was closer to a stamp, but did not entirely give up the traditional processes of painting, in between complete abstraction and a suggestion of figurative art. Mour\u00e3o\u2019s research took many paths, shown at different times. Now, painting takes ownership of its physical strength, and the canvas, of new scale in his trajectory, shows its material power as an efficient support and also as an object that is filled with history.<\/p>\n\n\n\n

arrow swing window \u2013 photography, sculpture and painting. Long trajectories, yes, but here, as mentioned before, instead of narrative flow, a combination and synthesis that is the mark of poetry.<\/p>\n<\/div>\n\n\n\n

<\/div>\n<\/div>\n\n\n\n
\n
\n
\"\"<\/figure>\n<\/div>\n\n\n\n
\n

Eucana\u00e3 Ferraz<\/h2>\n\n\n\n

Poet, professor of Brazilian Literature at the Faculty of Letters from the Federal University of Rio de Janeiro (UFRJ) and literature consultant at Instituto Moreira Salles in S\u00e3o Paulo, where he develops publications, exhibitions, debates, courses and shows.<\/p>\n\n\n\n

\n
Show more<\/a><\/div>\n<\/div>\n<\/div>\n\n\n\n
<\/div>\n<\/div>\n\n\n\n
\n
\n
\n
\"Image<\/figure>\n\n\n\n
\"Image<\/figure>\n\n\n\n
\"Image<\/figure>\n\n\n\n
\"Image<\/figure>\n\n\n\n
\"Image<\/figure>\n\n\n\n
\"Image<\/figure>\n\n\n\n
\"Image<\/figure>\n\n\n\n
\"Image<\/figure>\n\n\n\n
\"Image<\/figure>\n\n\n\n
\"Image<\/figure>\n\n\n\n
\"Image<\/figure>\n<\/figure>\n<\/div>\n<\/div>","protected":false},"excerpt":{"rendered":"

De volta ao Rio, ainda mantendo ateli\u00ea em Nova Iorque, o artista realiza sua s\u00e9tima exposi\u00e7\u00e3o individual na Lurixs, a primeira no novo endere\u00e7o no Leblon. A mostra ocupa a galeria t\u00e9rrea com tr\u00eas obras, realizadas em tr\u00eas diferentes linguagens \u2013 fotografia, escultura e pintura. Segundo o curador, promoveu-se um \u201cestranho jogo de propor\u00e7\u00f5es\u201d, no […]<\/p>\n","protected":false},"author":2,"featured_media":0,"parent":302,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_coblocks_attr":"","_coblocks_dimensions":"","_coblocks_responsive_height":"","_coblocks_accordion_ie_support":"","inline_featured_image":false,"_uag_custom_page_level_css":"","site-sidebar-layout":"default","site-content-layout":"default","ast-site-content-layout":"default","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"disabled","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","theme-transparent-header-meta":"default","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"set","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"footnotes":""},"class_list":["post-2155","page","type-page","status-publish","hentry"],"uagb_featured_image_src":{"full":false,"thumbnail":false,"medium":false,"medium_large":false,"large":false,"1536x1536":false,"2048x2048":false,"trp-custom-language-flag":false},"uagb_author_info":{"display_name":"Raul Mour\u00e3o","author_link":"https:\/\/www.raulmourao.com\/en\/author\/raulview\/"},"uagb_comment_info":0,"uagb_excerpt":"De volta ao Rio, ainda mantendo ateli\u00ea em Nova Iorque, o artista realiza sua s\u00e9tima exposi\u00e7\u00e3o individual na Lurixs, a primeira no novo endere\u00e7o no Leblon. A mostra ocupa a galeria t\u00e9rrea com tr\u00eas obras, realizadas em tr\u00eas diferentes linguagens \u2013 fotografia, escultura e pintura. Segundo o curador, promoveu-se um \u201cestranho jogo de propor\u00e7\u00f5es\u201d, no…","_links":{"self":[{"href":"https:\/\/www.raulmourao.com\/en\/wp-json\/wp\/v2\/pages\/2155","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.raulmourao.com\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.raulmourao.com\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.raulmourao.com\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.raulmourao.com\/en\/wp-json\/wp\/v2\/comments?post=2155"}],"version-history":[{"count":3,"href":"https:\/\/www.raulmourao.com\/en\/wp-json\/wp\/v2\/pages\/2155\/revisions"}],"predecessor-version":[{"id":3925,"href":"https:\/\/www.raulmourao.com\/en\/wp-json\/wp\/v2\/pages\/2155\/revisions\/3925"}],"up":[{"embeddable":true,"href":"https:\/\/www.raulmourao.com\/en\/wp-json\/wp\/v2\/pages\/302"}],"wp:attachment":[{"href":"https:\/\/www.raulmourao.com\/en\/wp-json\/wp\/v2\/media?parent=2155"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}