Color Bind

Color Bind
Rafael Kamada

[Color Bind]

November 11, 2021 – January 15, 2022
Curated by Marcello Dantas

Galeria Kogan Amaro São Paulo
Alameda Franca, 1054
Jardim Paulista, São Paulo, SP

There are many ways through which artworks can be combined. Curating is often a subjective process of establishing connections between different things based on a particular perspective, albeit one that reveals something intangible. I believe curating is also a game in which rules are established. And we should let the waves break to analyze the froth, as this froth results from the artworks’ latent friction.

Years ago, I’ve started researching curatorial processes that work as equations: systems that, once laid out, may present surprising results. The curator devises a conceptual form of organization and, when faced with an existing set of works, applies this metric to reveal something whose result even he cannot control.

As for this exhibition, I’ve been invited by Galeria Kogan Amaro to envisage a perspective on the artists represented by the gallery. I thought color binding could be a way to reveal the connection between such distinct poetics. We’ve deliberately left figurative pieces out in order to seek the connection between works that can be grouped according to their color prevalence. There are at least 11 million colors in the world that can be seen by our eyes, but most people only say the names of 11 of them in their daily lives. Some languages, like the one from Bolivian Tsimanés, have words for only three colors: black, white and red; while others, such as the one spoken by Inuit Eskimos, have 50 different words for the color white, based on their observation of snow. That is to say, verbal language is a rather inadequate tool to represent the language of color. How can anyone talk about what’s unnamed?

We’ve requested the artists to produce new pieces and used digital tools to analyze each work’s color components. We’ve compared them to Pantone’s color scale, a globally accepted system of color identification and sequencing, and arranged the pieces in the venue according to this chart.

I was aware this process would be profoundly abstract to me, since I was born colorblind and couldn’t actually comprehend the results here displayed. But I can seize its logic. Color blindness is not actually being unable to see color, but having trouble naming them when displayed side-by-side. That’s exactly what I was trying to suggest with this equation: revealing how colors mutually relate with no intervention from human taste. Color is its own language, one that pervades our perception in ways upon which we cannot actually elaborate.

Marcello Dantas


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