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For its first time in San Francisco SIDE GALLERY is delightted to present exceptional Brazilian historical design pieces, by Geraldo de Barros, Joaquim Tenreiro, Lina Bo Bardi, Percival Lafer and Branco a Preto along with ceramics by Venezuelan artist Cristina Merchán and an exceptional table lamp by Luis Barragán, as well as important artworks from the same period by Brazilian historical artists such as Lygia Pape, Willys de Castro or Amílcar de Castro.
In the case of Geraldo de Barros, SIDE GALLERY presents works by the artist in different mediums, such as photography, exhibiting one of his famous abstract photographies called “Fotoformas”, some of the furnitures he created during his time running the co-operative factory Unilabor as well as one of his famous paintings in formica, that Geraldo de Barros introduced in the Venice Biennale in 1979.
Lygia Pape is represented in SIDE GALLERY booth with one of his pieces from “Tecelares” series, the constructive wood prints that Lygia Pape produced between 1956 and 1958 that involve the useof a popular traditional Brazilian technique, where she apply geometric spatial
forms in a plastic experiment that ignore the multiple nature of the technique
to create a one-off piece. The living geometry of the works marks out the path that Lygia Pape took towards a Neo-Concretism based on the phenomenology of perception, recuperating a craft technique transformed by Josef Albers’ knowledge of optical games and Malevich’s intensity.
Special attention deserves also a sculpture by Jaoquim Tenreiro, from his “Tape” series. In words of Pietro Bo Bardi Tenreiro composes his objects with the rigor of a poetic formula that he determined in an incisive phrase: “Color is the visual delight, form is the force that animates; however, form alone does not satisfy, it needs color”. A symbiosis of form and color, not painting, not sculpture, but objects to be considered as genuine, expressions of classicism in these new times of confused concepts. Not imitation of nature, not abstractionism, Joaquim tends to build with exemplary technical resources the maximum that is possible to obtain by hand, plastic fantasies that enchant, sober incursions into a geometry combined in a rhythm of lines that are structured in an interdependence of hallucinatory spaces.