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On Saturday, October 18th, the gallery Blau Projects opens the exhibition Em Obras by the artist born in Pará who lives in São Paulo, Bruno Moreschi. With six pieces overall– two large scale pieces and four excerpts – the artist seeks to unveil the universe of painting and places into scene his means of production, placing at the foreground all the people involved in the making of a finished painting.

The artist and doctoral candidate in visual arts by Unicamp (Universidade Estadual de Campinas) seeks, in this show, to present an exhibition composed by paintings without being a professional artist. The challenge for the artist is to deal with this universe from a distance, placing aside esthetic assumptions in exposing unrevealed facets from this process. ‘I don’t discuss color, brushwork and composition in this exhibition. I want to exalt the people that are in this system of paintings and that are almost never revealed,’ states the artist. 

The first piece, Pintores, is about the involvement of wall painters, whom, according to Bruno Moreschi, "are the first actors in an exhibition room, preparing the wall for the artists, but are invisible as well as in their duties.”  Rectangular forms, created by the painters – and signed by them – are made by varied colors and sizes, taking account of one of the walls. 

The second project, Independência ou Morte/O Grito is a recreation of an original piece by Pedro Américo, done in conjunction with painters that have a realist technique who were found at public squares in the city of São Paulo. The painter that most worked in the painting with Bruno was Marco Andrade Jr., known for painting at the entrance of Parque Trianon at Av. Paulista. The work is the result of strenuous work between the artist and these painters in order to have a temporary version of Américo’s work, measuring four meters tall, almost three meters smaller than the original. 

"The painters and I went through a strict studio routine of hours and days in order to create a temporary version of Independência ou Morte. In the exhibition, the painter’s signatures on the piece assume their participation. The entire painting was built in dialogue, a conflict between different points of views, styles and positioning’s about painting and art,” says Bruno Moreschi. 

Four paintings that represent deconstructions of the main painting are coupled to the work. The fragments are important elements of the scene, like a few highlighted soldiers and Pedro Américo himself, who painted himself holding an umbrella in the middle of the crowd.

Closed for renovations

The recreation of Pedro Américo’s painting was also a way that the artist found to sidetrack the closing of the Museu do Ipiranga. Interdicted for renovations, Pedro Américo’s piece will be inaccessible until 2022. "The fact that this painting will be inaccessible to the public for almost ten years opens a gap for the creation of a temporary painting, made from the memory of the people that have seen it. Like Pedro Américo’s own work and all of historic painting, this version is also a recreation,” remarks the artist.

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