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Registros/Records

São Paulo
20 May – 15 Jun 2019

Registros/Records
Nazareth Pacheco

Registros/Records
Works
Video
Exhibitions views
Nazareth Pacheco

Galeria Kogan Amaro São Paulo
Alameda Franca, 1054
Jardim Paulista, São Paulo, SP
info@galeriakoganamaro.com

Nazareth Pacheco’s exclusive exhibition at the Kogan Amaro Gallery

In Registros/Records, the artist returns to the autobiographical character of her work and presents her production of the last five years
Part of the generation of artists that emerged between the 1980s and 1990s, when the country was bubbling over women’s issues, Nazareth Pacheco used femininity and her biography, in particular the narratives related to her body transformation through time as raw material for her three-dimensional works. After a plunge into the past, amid affective memories, the artist emerged giving life to unpublished work, now on show in Registros/Records, which opens on Saturday, May 18, at the Kogan Amaro Gallery.

The show brings together works that are part of her artistic production of the last five years, time during which Nazareth Pacheco lived the mourning of her parents, important figures in her career and growth, and some surgical interventions on her body, originating from a congenital problem that has followed her since childhood.

This is how the artist combines her past and present, which becomes obvious in Registros (2019), an installation made from clippings of her and her parents’ medical exams. Attached to the ceiling of the Gallery, the work spreads to the ground and resembles a waterfall, as dense and fluid as life.

Nazareth grew up in an environment that encouraged manual work, her mother and grandmother were used to knit and embroider. It was with them that she learned the craft, which was extremely important to help her develop her hand skills, which also underwent surgical procedures. It is from this memory that Vida (2019) emerged, a work composed of her mother’s nightgowns, distinctive and delicate garments, today presented with pearl and crystal restorations, a simple resignification for the damage left by time.

An intimate relationship with clinical objects is a constant in the artist’s life and work, not only due to her history of operations, but also to her paternal figure. In honor of her father, a neurologist, Nazareth puts on show DELE (2018), a triad of brass-cast instruments.

Without fear or shame, Nazareth Pacheco invites the public to plunge into her intimacy. This is what she does in the Momentos (2017) series, in which she displays records of her pre and postoperative status following one of he numerous surgeries on polaroids.

The artist will launch a book documenting her more than 30 years of career at the opening of the exhibition. Entitled “Nazareth Pacheco”, the publication was designed by the artist and had the collaboration of longtime colleagues. The book was organized by Regina Teixeira de Barros and includes analyzes by authors from several generations, such as Ivo Mesquita, Marcus Lontra da Costa and Tadeu Chiarelli, as well as unpublished reviews signed by Cauê Alves and Moacir Anjos.

Works

Nazareth Pacheco
View all

Video

Exhibitions views

Nazareth Pacheco

São Paulo, SP, 1961
Lives and works in São Paulo

Nazareth Pacheco studied Plastic Arts at Mackenzie Presbyterian University in 1983. Since 1980, she has developed 3-D artwork that connect with processes the human body experiences. Feminine, historical, literal or symbolic. The artifacts that surround the body are transmuted into objects and facilities whose beauty and glow often traverse into pain and suffering. She attended monitoring course at São Paulo’s 18th Biennial under the guidance of historian and art critic Tadeu Chiarelli back in 1985. While in Paris in 1987, she attended École Nationale Supérieure des Beaux-Arts’ sculpture shop. Between the years 1990 and 1991, she participated in workshops from artists Iole de Freitas, Carmela Gross, José Resende, Amílcar de Castro, Nuno Ramos and Waltercio Caldas. In 1998, Nazareth participated in the 24th International Biennial of São Paulo. In 2002, she mastered at the School of Communications and Arts of the University of São Paulo (ECA / USP) where she lectured about Seductive Objects, under Carlos Fajardo’s supervision. Her work Gilete Azul in 2003 was made into a documentary, produced and launched by psychoanalyst Miriam Schnaiderman. Over recent years, she has displayed her work at several exhibitions in Brazil and abroad, as well as having attended “Salon” of Louise Bourgeois in New York, between 1999 and 2006. Nazareth’s career’s production over the past three decades has been present at galleries and museums in Brazil and abroad, individually and collectively.

Registros/Records
Works
Video
Exhibitions views
Nazareth Pacheco

Galeria Kogan Amaro São Paulo
Alameda Franca, 1054
Jardim Paulista, São Paulo, SP
info@galeriakoganamaro.com

Nazareth Pacheco’s exclusive exhibition at the Kogan Amaro Gallery

In Registros/Records, the artist returns to the autobiographical character of her work and presents her production of the last five years
Part of the generation of artists that emerged between the 1980s and 1990s, when the country was bubbling over women’s issues, Nazareth Pacheco used femininity and her biography, in particular the narratives related to her body transformation through time as raw material for her three-dimensional works. After a plunge into the past, amid affective memories, the artist emerged giving life to unpublished work, now on show in Registros/Records, which opens on Saturday, May 18, at the Kogan Amaro Gallery.

The show brings together works that are part of her artistic production of the last five years, time during which Nazareth Pacheco lived the mourning of her parents, important figures in her career and growth, and some surgical interventions on her body, originating from a congenital problem that has followed her since childhood.

This is how the artist combines her past and present, which becomes obvious in Registros (2019), an installation made from clippings of her and her parents’ medical exams. Attached to the ceiling of the Gallery, the work spreads to the ground and resembles a waterfall, as dense and fluid as life.

Nazareth grew up in an environment that encouraged manual work, her mother and grandmother were used to knit and embroider. It was with them that she learned the craft, which was extremely important to help her develop her hand skills, which also underwent surgical procedures. It is from this memory that Vida (2019) emerged, a work composed of her mother’s nightgowns, distinctive and delicate garments, today presented with pearl and crystal restorations, a simple resignification for the damage left by time.

An intimate relationship with clinical objects is a constant in the artist’s life and work, not only due to her history of operations, but also to her paternal figure. In honor of her father, a neurologist, Nazareth puts on show DELE (2018), a triad of brass-cast instruments.

Without fear or shame, Nazareth Pacheco invites the public to plunge into her intimacy. This is what she does in the Momentos (2017) series, in which she displays records of her pre and postoperative status following one of he numerous surgeries on polaroids.

The artist will launch a book documenting her more than 30 years of career at the opening of the exhibition. Entitled “Nazareth Pacheco”, the publication was designed by the artist and had the collaboration of longtime colleagues. The book was organized by Regina Teixeira de Barros and includes analyzes by authors from several generations, such as Ivo Mesquita, Marcus Lontra da Costa and Tadeu Chiarelli, as well as unpublished reviews signed by Cauê Alves and Moacir Anjos.

Works

Nazareth Pacheco
View all

Video

Exhibitions views

Nazareth Pacheco

São Paulo, SP, 1961
Lives and works in São Paulo

Nazareth Pacheco studied Plastic Arts at Mackenzie Presbyterian University in 1983. Since 1980, she has developed 3-D artwork that connect with processes the human body experiences. Feminine, historical, literal or symbolic. The artifacts that surround the body are transmuted into objects and facilities whose beauty and glow often traverse into pain and suffering. She attended monitoring course at São Paulo’s 18th Biennial under the guidance of historian and art critic Tadeu Chiarelli back in 1985. While in Paris in 1987, she attended École Nationale Supérieure des Beaux-Arts’ sculpture shop. Between the years 1990 and 1991, she participated in workshops from artists Iole de Freitas, Carmela Gross, José Resende, Amílcar de Castro, Nuno Ramos and Waltercio Caldas. In 1998, Nazareth participated in the 24th International Biennial of São Paulo. In 2002, she mastered at the School of Communications and Arts of the University of São Paulo (ECA / USP) where she lectured about Seductive Objects, under Carlos Fajardo’s supervision. Her work Gilete Azul in 2003 was made into a documentary, produced and launched by psychoanalyst Miriam Schnaiderman. Over recent years, she has displayed her work at several exhibitions in Brazil and abroad, as well as having attended “Salon” of Louise Bourgeois in New York, between 1999 and 2006. Nazareth’s career’s production over the past three decades has been present at galleries and museums in Brazil and abroad, individually and collectively.

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