|Regina Silveira, serie Dreaming of blue, 2016|
|Leandro Erlich, Blind Window, 2016|
When you approach this new space, it’s not easy to tell that it’s an art gallery, because what you first see is a house, which was designed in 1958 by Rino Levi, with landscaping by Roberto Burle Marx. It’s rooted in a peculiar relationship between interior and exterior in which nature, in the form of two outdoor gardens, makes its way in through the building’s glass walls. With Regina Silveira’s works and Leandro Erlich’s installation, this indoor-outdoor relationship is particularly gratifying. The concept has been a long-standing interest of both artists.
An exhibition of Silveira’s work at the Museu de Arte de São Paulo in 2010 is the origin of her exhibition here. In the museum installation, the artist covered the glass facade with images of clouds. This exhibition is also suggestive of the atmosphere, as Silveira overglazes ceramic tiles—such as those that comprise the stunning panel Dreaming of Blue I(works cited 2016)—to re-create the sky indoors. Silveira has always been interested in encoding, and the cross-stitch patterns illuminate and simultaneously obfuscate meaning within these elegantly wrought pieces. Installed in the living room, Erlich’s Blind Window consists of a glass sheet with a window in the middle. Sealed off by bricks, this window gives rise to myriad speculations on the (in)visibility of the relationships between private and public space.
In the front garden and down in the cellar of the venue, several works from “Residência moderna” (Modern Residence)—the first exhibition held at this new site, just before this one—remain on display. The gallery continues to create a fluid and dynamic visual rapport between the works of art and the home that cradles them.
Texto publicado na revista mensal Artforum, por ocasião da exposição “REGINA SILVEIRA: TRAMADOS / LEANDRO ERLICH: BLIND WINDOW”, na Galeria Luciana Brito, São Paulo, Brasil, Junho-Agosto, 2016.