Leitura: 3 min

Risk and poetry

Risk and poetry

The arrival of Luiz Zerbini’s paintings at Inhotim, which happened at the same time the Juan Araujo room was opened, together with an exhibit on still life, show the desire to show and talk about painting.  Since the Adriana Varejão pavilion was opened back in 2008, painting hasn´t been in the foreground in our exhibits as much as it is now.  With intricate compositions and complex cultural references, Zerbini’s figurative works could be considered the focal point of his presentation at Galeria Praça, a reinvention of narrative painting – I think of the line that goes through Renaissance religious painting to the Brazilian historical painting of the 19th century.

The relationship with nature, which is understood as the construction of man, becomes especially relevant at Inhotim, where the boundaries between what is cultivated and what is natural are always present.  In Mamão Manilha (2012), a papaya tree resists at a construction site that includes a painting by Hélio Oiticica.  In Mar do Japão (2010), it is the opposite:  human traces remain in an entropic seascape. The geometric paintings and sculpture-collages that complete the room show the artist’s restlessness during the last ten years of his production.  Due to his solar tropical and exuberant painting, at the same time Zerbini is a legend among Brazilian painters from the 1980s, he gathers 30 years of art showing that there is no poetry without risk.

Obras de Luiz Zerbini na Galeria praça. Foto: Ricardo Mallaco

Luiz Zerbini’s works can be seen on the Galeria Praça. Photo: Ricardo Mallaco

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