31 Oct – 28 Nov, 2020
“Not every portrait is a tribute.” Who better to problematize the bourgeoisie, than the bourgeois themselves? Who better to dismantle the construction of whiteness than those who benefit from it? In recent anti-racist movements, there has been a push to inspire white people to problematize and dismantle whiteness amongst themselves. The intimate conversations had between white folks are some that only they know the details of.
Per noite is an exhibition that speaks to the bourgeoisie colonial view of Brazil and her history. From the 15th century on, Brazil has been viewed as a playground for elites and colonizers alike. A site for pleasure, reinforced in tales about Brazil and international tourism advertisements. For some, Brazil is the site of per noite- level, reckless exploitation. Daniel Lannes, in his portraits that play with the space between sexuality, exploitation, and vulgarity both critiques and exposes the nature of elites. Lannes is nearly always examining nature of the colonial ties within Brazilian culture and history. In Calcuta , for example, he paints Carlota Joaquina idealized while still showing her as she was–afflicted with lice but seen as a queen coming to reign over the New World. Known for his portraits that blur the line between homage and critique, one can clearly see the dichotomies in Lannes’ works throughout the exhibition.
Dito Pelo não Dito portrays King Don Joao gluttonously relaxing after being relieved by his professional masturbator. Dressed from above with the uniform of a royal and slothily, nakedly relaxed from the waist down. One may first view the image as a shameful moment, but instead, Lannes has said it speaks to the lack of shame amongst the bourgeoisie. The double standard that could exist in a world where a king hires a professional masturbator but represents a class that viewed its colonial subjects as inherently more sexual.
Lannes is also a storyteller, providing space in his paintings for the viewer to remember celebrated Brazillian stories, while inviting them to cast doubt on their legacies. Who do we remember when we focus and continually refocus on certain stories? Who are we without these stories and these constant tributes?
Tiffany Auttrianna Ward
MA in Visual Language at Universidade Federal do Rio de Janeiro (2012) and BFA in Social Communication at PUC-Rio (2006).
Highlights from his solo exhibitions include: “A Luz Do Fogo” (Light of Fire, 2017), at Magic Beans Gallery, Berlin, Germany; “Costumes” (2014) and “Dilúvio” (2012), at Galeria Luciana Caravello Arte Contemporânea; “República” (2011), at Museu de Arte Moderna do Rio de Janeiro; “Só Lazer” (2011), at Galeria de Arte IBEU, in Rio de Janeiro; “Midnight Paintings” (2007), at Centro Cultural São Paulo, among others.
Highlights from his group exhibitions include: “HÖHENRAUSCH”, Eigen + Art gallery, Berlin, Germany and “Ao Amor do Público I” – ArtRio Donations (2012-2015), both in 2016; “Tarsila e Mulheres Modernas”, at Museu de Arte do Rio (MAR) and “Renaissance”, at Maison Folie Wazemmes, in France, both in 2015; “Crer em Fantasmas” (2013), at Caixa Cultural de Brasília; “Gramática Urbana” (2012), at Centro de Arte Hélio Oiticica; “Arquivo Geral” (2009), at Centro Cultural da Justiça Federal; “Painting’s Edge” (2008), RiverSide Museum of Art, in USA, among others.
He’s been honored with the 6th Prêmio Marcantonio Vilaça para as Artes Plásticas (2017-2018). Participated in the Kunstresidenz Bad Gastein artistic residency, in Bad Gastein, Austria, in 2015. Was selected as a delegate for Rio de Janeiro at Lille3000 Art Festival, in Lille, France, nominated to the 10th Programa de Prêmios e Comissões from Cisneros-Fontanals Art Foundation (CIFO) 2013 and he’s been honoured with the FUNARTE Arte Contemporânea Prize (2012). He’s also been nominated to the Prêmio PIPA in 2011 and 2012 and was honoured with the Prêmio Novíssimos do Salão de Arte IBEU (2010). He’s been granted with an artistic residency study grant at The Idyllwild Arts Program Painting’s Edge, California, USA, 2008, and a scholarship at State University of New York / Fine Arts Department, in 2004.
His work is featured in numerous public collections, including the Museu de Arte do Rio de Janeiro (MAR); Instituto Figueiredo Ferraz, Ribeirão Preto; Museu de Arte Moderna do Rio de Janeiro, among others.